The Red Book: Liber Novus, A Reader's Edition

«THE YEARS, OF WHICH I HAVE SPOKEN TO YOU, when I pursued the inner images, were the most important time of my life. Everything else is to be derived from this.» — el Author's Note de 1957 con que se abre el volumen: Jung declara que los años de persecución de las imágenes interiores fueron el periodo capital de su vida y que todo lo demás deriva de ahí.

«My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life.» — sigue el Author's Note: describe su vida entera como elaboración de lo que irrumpió del inconsciente, corriente enigmática que amenazó con quebrarlo.

«Everything later was merely the outer classification, the scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then.» — cierra el Author's Note ordenando su obra posterior como clasificación externa y elaboración científica de un comienzo al que llama numinoso.

«Isaias dixit: quis credidit auditui nostro et brachium Domini cui revelatum est? et ascendet sicut virgultum coram eo et sicut radix de terra sitienti non est species ei neque decor et vidimus eum et non erat aspectus et desideravimus eum: despectum et novissimum virorum virum dolorum et scientem infirmitatem et quasi absconditus vultus eius et despectus unde nec reputavimus eum. vere languores nostros ipse tulit et dolores nostros ipse portavit et nos putavimus eum quasi leprosum et percussum a Deo et humiliatum. Cap. liii/i-iv.» — el Liber Primus, prólogo *The Way of What Is to Come* se abre con el epígrafe latino de Isaías 53 sobre el varón de dolores, en la Vulgata y sin traducir en el cuerpo.

«If I speak in the spirit of this time,5 I must say: no one and nothing can justify what I must proclaim to you.» — arranque del Liber Primus, prólogo *The Way of What Is to Come*: Jung declara que nada puede justificar lo que va a proclamar; el 5 dentro de la cita es la llamada a nota del volumen.

«I have learned that in addition to the spirit of this time there is still another spirit at work, namely that which rules the depths of everything contemporary.» — la distinción que gobierna el libro entero, enunciada en el Liber Primus, prólogo *The Way of What Is to Come*: junto al espíritu de este tiempo obra otro que rige las profundidades de todo lo contemporáneo.

«The spirit of this time would like to hear of use and value. I also thought this way, and my humanity still thinks this way.» — Jung caracteriza al espíritu de este tiempo por lo que pide —utilidad y valor— y se incluye entre quienes pensaban así (Liber Primus, prólogo *The Way of What Is to Come*).

«But that other spirit forces me nevertheless to speak, beyond justification, use, and meaning.» — la compulsión con que Jung describe su propio hablar en el Liber Primus, prólogo *The Way of What Is to Come*: más allá de justificación, utilidad y sentido.

«But I did not consider that the spirit of the depths from time immemorial and for all the future possesses a greater power than the spirit of this time, who changes with the generations.» — Jung sostiene en el Liber Primus, prólogo *The Way of What Is to Come* que el espíritu de las profundidades tiene más poder que el de este tiempo, que cambia con las generaciones.

«He took away my belief in science, he robbed me of the joy of explaining and ordering things,» — lo que Jung dice haber perdido a manos del espíritu de las profundidades: la fe en la ciencia y el gozo de explicar y ordenar (Liber Primus, prólogo *The Way of What Is to Come*).

«But the supreme meaning is the path, the way and the bridge to what is to come.» — la fórmula central del Liber Primus, prólogo *The Way of What Is to Come*: el sentido supremo es camino, vía y puente hacia lo que ha de venir.

«It is not the coming God himself, but his image which appears in the supreme meaning.» — la acotación que Jung pone en el mismo lugar: lo que aparece en el sentido supremo no es el dios venidero sino su imagen (Liber Primus, prólogo *The Way of What Is to Come*).

«The supreme meaning is not a meaning and not an absurdity, it is image and force in one, magnificence and force together.» — Jung define el sentido supremo por lo que no es —ni sentido ni absurdo— y por ser imagen y fuerza a la vez (Liber Primus, prólogo *The Way of What Is to Come*).

«The other Gods died of their temporality, yet the supreme meaning never dies, it turns into meaning and then into absurdity, and out of the fire and blood of their collision the supreme meaning rises up rejuvenated anew.» — Jung opone la temporalidad de los otros dioses a un sentido supremo que no muere y renace del choque entre sentido y absurdo (Liber Primus, prólogo *The Way of What Is to Come*).

«But nonsense is the inseparable and undying brother of the supreme meaning.» — el par que Jung no separa en el Liber Primus, prólogo *The Way of What Is to Come*: el sinsentido como hermano inseparable e inmortal del sentido supremo.

«The spirit of this time in me wanted to recognize the greatness and extent of the supreme meaning, but not its littleness.» — Jung se imputa a sí mismo la parcialidad de querer la grandeza del sentido supremo y no su pequeñez (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths spoke to me: “11 You are an image of the unending world, all the last mysteries of becoming and passing away live in you.» — el espíritu de las profundidades, figura con la que Jung dialoga en el Liber Primus, prólogo *The Way of What Is to Come*, le dice que es imagen del mundo sin fin y que en él viven los misterios del devenir y el perecer.

«But to explain a matter is arbitrary and sometimes even murder. Have you counted the murderers among the scholars?» — el espíritu de las profundidades llama arbitrariedad y a veces asesinato al explicar, y pregunta cuántos asesinos hay entre los eruditos (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of this time stepped up to me and laid before me huge volumes which contained all my knowledge. Their pages were made of ore, and a steel stylus had engraved inexorable words in them, and he pointed to these inexorable words and spoke to me, and said: “What you speak, that is madness.» — en el Liber Primus, prólogo *The Way of What Is to Come*, el espíritu de este tiempo le presenta a Jung volúmenes de mineral con su saber grabado y le dice que lo que habla es locura.

«It is true, it is true, what I speak is the greatness and intoxication and ugliness of madness.» — Jung admite el cargo en vez de defenderse: lo que habla es grandeza, embriaguez y fealdad de locura (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths stepped up to me and said: “What you speak is. The greatness is, the intoxication is, the undignified, sick, paltry dailiness is. It runs in all the streets, lives in all the houses, and rules the day of all humanity. Even the eternal stars are commonplace. It is the great mistress and the one essence of God.» — la réplica del espíritu de las profundidades en el Liber Primus, prólogo *The Way of What Is to Come*: lo que Jung habla *es*, y la cotidianidad enferma y mísera es la gran señora y la única esencia de Dios.

«I must also speak the ridiculous. You coming men! You will recognize the supreme meaning by the fact that he is laughter and worship, a bloody laughter and a bloody worship. A sacrificial blood binds the poles. Those who know this laugh and worship in the same breath.» — Jung se dirige a los hombres venideros y les da la señal por la que reconocerán el sentido supremo: risa y culto sangrientos a la vez (Liber Primus, prólogo *The Way of What Is to Come*).

«After this, however, my humanity approached me and said: “What solitude, what coldness of desolation you lay upon me when you speak such! Reflect on the destruction of being and the streams of blood from the terrible sacrifice that the depths demand.» — la humanidad de Jung, personificada como figura aparte, le reprocha la soledad y el frío que le impone y le manda pensar en la sangre del sacrificio (Liber Primus, prólogo *The Way of What Is to Come*).

«But the spirit of the depths said: “No one can or should halt sacrifice. Sacrifice is not destruction, sacrifice is the foundation stone of what is to come. Have you not had monasteries? Have not countless thousands gone into the desert? You should carry the monastery in yourself. The desert is within you. The desert calls you and draws you back, and if you were fettered to the world of this time with iron, the call of the desert would break all chains. Truly, I prepare you for solitude.» — la respuesta del espíritu de las profundidades: el sacrificio no es destrucción sino piedra fundacional, el desierto está dentro y él lo prepara para la soledad (Liber Primus, prólogo *The Way of What Is to Come*).

«Something happened to my spirit, however, which I must call mercy.» — Jung nombra gracia lo que le ocurrió al espíritu tras callar su humanidad (Liber Primus, prólogo *The Way of What Is to Come*).

«The mercy which happened to me gave me belief, hope, and sufficient daring, not to resist further the spirit of the depths, but to utter his word. But before I could pull myself together to really do it, I needed a visible sign that would show me that the spirit of the depths in me was at the same time the ruler of the depths of world affairs.» — Jung consigna la condición que se puso antes de hablar: un signo visible de que el espíritu de las profundidades regía también las profundidades del mundo (Liber Primus, prólogo *The Way of What Is to Come*).

«It happened in October of the year 1913 as I was leaving alone for a journey, that during the day I was suddenly overcome in broad daylight by a vision: I saw a terrible flood that covered all the northern and low-lying lands between the North Sea and the Alps. It reached from England up to Russia, and from the coast of the North Sea right up to the Alps. I saw yellow waves, swimming rubble, and the death of countless thousands.» — la visión de octubre de 1913 tal como el Liber Primus, prólogo *The Way of What Is to Come* la cuenta: la inundación que cubre las tierras entre el mar del Norte y los Alpes.

«This vision lasted for two hours, it confused me and made me ill. I was not able to interpret it. Two weeks passed then the vision returned, still more violent than before, and an inner voice spoke: “Look at it, it is completely real, and it will come to pass. You cannot doubt this.» — la voz interior que le dice a Jung que la visión es real y sucederá, tras repetirse dos semanas después (Liber Primus, prólogo *The Way of What Is to Come*).

«I wrestled again for two hours with this vision, but it held me fast. It left me exhausted and confused. And I thought my mind had gone crazy.» — Jung consigna lo que la segunda visión le dejó: agotamiento, confusión y el pensamiento de haber perdido la razón (Liber Primus, prólogo *The Way of What Is to Come*).

«In the year 1914 in the month of June, at the beginning and end of the month, and at the beginning of July, I had the same dream three times: I was in a foreign land, and suddenly, overnight and right in the middle of summer, a terrible cold descended from space. All seas and rivers were locked in ice, every green living thing had frozen.» — el sueño triplicado de junio y julio de 1914: el frío terrible que baja del espacio en pleno verano (Liber Primus, prólogo *The Way of What Is to Come*).

«One laughs about it, and laughter, too, is. Do you believe, man of this time, that laughter is lower than worship? Where is your measure, false measurer?13 The sum of life decides in laughter and in worship, not your judgment.» — el espíritu de las profundidades pregunta si la risa está por debajo del culto y decide por la suma de la vida, no por el juicio del hombre de este tiempo (Liber Primus, prólogo *The Way of What Is to Come*).

«but out of the impossibility of finding those words, I speak in images. With nothing else can I express the words from the depths.» — la razón que Jung da para hablar en imágenes en el Liber Primus, prólogo *The Way of What Is to Come*: no puede expresar de otro modo las palabras de las profundidades.

«On what basis should I presume to teach you? I give you news of the way of this man, but not of your own way.» — Jung acota lo que su libro puede dar al lector: noticia del camino de un hombre, no del camino ajeno (Liber Primus, prólogo).

«The way is within us, but not in Gods, nor in teachings, nor in laws. Within us is the way, the truth, and the life. Woe betide those who live by way of examples! Life is not with them. If you live according to an example, you thus live the life of that example, but who should live your own life if not yourself?» — la tesis con que Jung rechaza el ejemplo y la ley como vía: el camino está dentro, y vivir según un ejemplo es vivir la vida de ese ejemplo (Liber Primus, prólogo).

«Laws and teachings held in common compel people to solitude, so that they may escape the pressure of undesirable contact, but solitude makes people hostile and venomous. Therefore give people dignity and let each of them stand apart, so that each may find his own fellowship and love it.» — la objeción de Jung a la ley común: empuja a la soledad y la soledad envenena, de modo que lo que propone es dar dignidad y dejar a cada quien aparte (Liber Primus, prólogo).

«I will be no savior, no lawgiver, no master teacher unto you.» — Jung declara qué no será para el lector, en un libro que se abre con epígrafes mesiánicos (Liber Primus, prólogo).

«The one eye of the Godhead is blind, the one ear of the Godhead is deaf, the order of its being is crossed by chaos.» — la imagen de la divinidad que el prólogo enuncia: ciega de un ojo, sorda de un oído, con el orden de su ser atravesado por el caos (Liber Primus).

«[2] When I had the vision of the flood in October of the year 1913, it happened at a time that was significant for me as a man. At that time, in the fortieth year of my life, I had achieved everything that I had wished for myself. I had achieved honor, power, wealth, knowledge, and every human happiness. Then my desire for the increase of these trappings ceased, the desire ebbed from me and horror came over me.» — apertura del capítulo I, *Refinding the Soul*, en segunda capa —el volumen la marca con el 2 entre corchetes—: a los cuarenta años Jung tenía honor, poder, riqueza y saber, y el deseo de acrecentarlos cesó.

«The vision of the flood seized me and I felt the spirit of the depths, but I did not understand him.33 Yet he drove me on with unbearable inner longing and I said:» — el paso de la visión al diálogo: Jung dice haber sentido al espíritu de las profundidades sin entenderlo, y haber hablado empujado por un anhelo insoportable (Liber Primus, cap. I).

«My soul, where are you? Do you hear me? I speak, I call you—are you there? I have returned, I am here again. I have shaken the dust of all the lands from my feet, and I have come to you, I am with you. After long years of long wandering, I have come to you again. Should I tell you everything I have seen, experienced, and drunk in? Or do you not want to hear about all the noise of life and the world? But one thing you must know: the one thing I have learned is that one must live this life.» — la llamada al alma con que se abre el capítulo I: tras años de vagar, lo único que Jung dice haber aprendido es que hay que vivir esta vida.

«This life is the way, the long sought-after way to the unfathomable, which we call divine.35 There is no other way, all other ways are false paths.» — la identificación que hace el capítulo I entre esta vida y la vía largamente buscada a lo insondable que llamamos divino (Liber Primus).

«I found the right way, it led me to you, to my soul. I return, tempered and purified. Do you still know me? How long the separation lasted! Everything has become so different. And how did I find you? How strange my journey was! What words should I use to tell you on what twisted paths a good star has guided me to you? Give me your hand, my almost forgotten soul. How warm the joy at seeing you again, you long disavowed soul. Life has led me back to you.» — el hallazgo con que cierra esa llamada: el camino recto llevó a Jung de vuelta a su alma (Liber Primus, cap. I).

«I did not consider that my soul cannot be the object of my judgment and knowledge; much more are my judgment and knowledge the objects of my soul.» — la inversión que Jung se reprocha no haber visto: el alma no es objeto de su juicio y su saber, sino al revés (Liber Primus, cap. II, *Soul and God*).

«Therefore the spirit of the depths forced me to speak to my soul, to call upon her as a living and self-existing being.» — lo que el espíritu de las profundidades le impone a Jung: hablarle al alma como a un ser vivo y con existencia propia, que es el procedimiento del libro entero (Liber Primus, cap. II).

«He whose desire turns away from outer things, reaches the place of the soul.40 If he does not find the soul, the horror of emptiness will overcome him, and fear will drive him with a whip lashing time and again in a desperate endeavor and a blind desire for the hollow things of the world. He becomes a fool through his endless desire, and forgets the way of his soul, never to find her again.» — la condición y el riesgo que el capítulo II enuncia: quien aparta el deseo de lo exterior llega al lugar del alma, y si no la encuentra el horror del vacío lo vuelve necio (Liber Primus).

«But hunger makes the soul into a beast that devours the unbearable and is poisoned by it. My friends, it is wise to nourish the soul, otherwise you will breed dragons and devils in your heart.» — la advertencia dirigida a los amigos: el alma hambrienta se vuelve bestia, y quien no la alimenta cría dragones y demonios (Liber Primus, cap. II).

«I wandered for many years, so long that I forgot that I possessed a soul.48 Where were you all this time? Which Beyond sheltered you and gave you sanctuary? Oh, that you must speak through me, that my speech and I are your symbol and expression! How should I decipher you?» — la pregunta con que Jung se dirige al alma tras años de olvido: que ella hable por él y que su habla sea su símbolo (Liber Primus, cap. II).

«Who are you, child? My dreams have represented you as a child and as a maiden.49 I am ignorant of your mystery.50 Forgive me if I speak as in a dream, like a drunkard—are you God? Is God a child, a maiden?» — Jung interroga al alma por su identidad, figurada en sueños como niña y como doncella, y se pregunta si es Dios (Liber Primus, cap. II).

«You are lying to yourself! You spoke so as to deceive others and make them believe in you. You want to be a prophet and chase after your ambition.» — la voz de la herida, que en el capítulo II le dice a Jung que se miente y que persigue ambición de profeta; la duda queda dentro del texto, sin resolver (Liber Primus).

«If we possess the image of a thing, we possess half the thing.» — la doctrina de la imagen del capítulo II: poseer la imagen de una cosa es poseer media cosa (Liber Primus).

«He who possesses the world but not its image possesses only half the world, since his soul is poor and has nothing.» — la consecuencia de esa doctrina: quien tiene el mundo sin su imagen tiene solo la mitad, y su alma es pobre (Liber Primus, cap. II).

«You took away where I thought to take hold, and you gave me where I did not expect anything and time and again you brought about fate from new and unexpected quarters.» — lo que Jung le atribuye al alma en el Liber Primus, cap. II, *Soul and God*: quitar donde él creía tomar y dar donde no esperaba nada.

«You upheld my belief, when I was alone and near despair.» — el sostén que Jung reconoce al alma en la soledad y la desesperación (Liber Primus, cap. II, *Soul and God*).

«The spirit of the depths even taught me to consider my action and my decision as dependent on dreams.» — hasta dónde llega la subordinación que el Liber Primus, cap. II, *Soul and God* declara: hacer depender del sueño la acción y la decisión.

«Scholarliness alone is not enough; there is a knowledge of the heart that gives deeper insight.54 The knowledge of the heart is in no book and is not to be found in the mouth of any teacher, but grows out of you like the green seed from the dark earth.» — la contraposición que enuncia el Liber Primus, cap. II, *Soul and God* entre erudición y conocimiento del corazón, que no está en libro ni en boca de maestro.

«You can attain this knowledge only by living your life to the full.» — la condición del conocimiento del corazón según el Liber Primus, cap. II, *Soul and God*: vivir la propia vida a fondo.

«You will say: “But I cannot live or think everything that others live or think.” But you should say: “The life that I could still live, I should live, and the thoughts that I could still think, I should think.”» — la objeción que el Liber Primus, cap. II, *Soul and God* se pone en boca del lector y la respuesta que le da: no vivir todo lo ajeno, sino todo lo propio que aún podría vivirse.

«I had to recognize that I am only the expression and symbol of the soul.» — la inversión que Jung se aplica en el Liber Primus, cap. II, *Soul and God*: él es expresión y símbolo del alma, no al revés.

«The spirit of the depths taught me to say: “I am the servant of a child.” Through this dictum I learn above all the most extreme humility, as what I most need.» — la fórmula que el espíritu de las profundidades le enseña a Jung, y que él lee como humildad extrema (Liber Primus, cap. II, *Soul and God*).

«If you are boys, your God is a woman.» — la correspondencia que el Liber Primus, cap. II, *Soul and God* establece entre la edad de quien habla y la figura de su dios.

«The spirit of the depths taught me that my life is encompassed by the divine child.58 From his hand everything unexpected came to me, everything living.» — el niño divino que, según el Liber Primus, cap. II, *Soul and God*, abarca la vida de Jung y de cuya mano viene todo lo inesperado y vivo.

«My God is a child, so wonder not that the spirit of this time in me is incensed to mockery and scorn.» — Jung consigna en el Liber Primus, cap. II, *Soul and God* la burla que el espíritu de este tiempo le dedica por tener a un niño por dios.

«No one can be spared the way of Christ, since this way leads to what is to come.» — la tesis del Liber Primus, cap. II, *Soul and God* sobre el camino de Cristo: nadie se libra de él porque conduce a lo que ha de venir.

«You do not overcome the old teaching through doing less, but through doing more.» — la regla que el Liber Primus, cap. II, *Soul and God* opone a la abolición: la enseñanza antigua no se supera haciendo menos sino más.

«Your God should not be a man of mockery, rather you yourself will be the man of mockery.» — el reparto que el Liber Primus, cap. II, *Soul and God* propone entre el dios y quien lo sigue: la burla recae en el hombre, no en su dios.

«Disorder and meaninglessness are the mother of order and meaning. Order and meaning are things that have become and are no longer becoming. You open the gates of the soul to let the dark flood of chaos flow into your order and meaning. If you marry the ordered to the chaos you produce the divine child, the supreme meaning beyond meaning and meaninglessness.» — la fórmula del Liber Primus, cap. III, *On the Service of the Soul*: el desorden y el sinsentido engendran el orden y el sentido, y casar lo ordenado con el caos produce el niño divino.

«Christ totally overcomes the temptation of the devil, but not the temptation of God to good and reason.» — la objeción que el Liber Primus, cap. III, *On the Service of the Soul* le hace a Cristo: vence la tentación del diablo y no la de Dios al bien y a la razón.

«Your God is a child, so long as you are not childlike.» — la condición que el Liber Primus, cap. III, *On the Service of the Soul* pone a la figura infantil del dios: lo es mientras quien lo tiene no sea infantil.

«You must endure the temptation of fear and doubt, and at the same time acknowledge to the bone that your fear is justified and your doubt is reasonable.» — la exigencia doble del Liber Primus, cap. III, *On the Service of the Soul*: soportar el miedo y la duda y a la vez reconocer que están justificados.

«You still have to learn this, to succumb to no temptation, but to do everything of your own will; then you will be free and beyond Christianity.» — la meta que el Liber Primus, cap. III, *On the Service of the Soul* enuncia: no sucumbir a tentación alguna sino obrar por voluntad propia, y quedar libre y más allá del cristianismo.

«I have had to recognize that I must submit to what I fear; yes, even more, that I must even love what horrifies me.» — lo que Jung dice haber tenido que reconocer en el Liber Primus, cap. III, *On the Service of the Soul*: someterse a lo que teme y amar lo que le horroriza.

«If you believe that you are the master of your soul, then become her servant. If you were her servant, make yourself her master, since she needs to be ruled.» — la regla de inversión del Liber Primus, cap. III, *On the Service of the Soul* sobre la relación con el alma: quien se crea su amo hágase su siervo, y a la inversa.

«But I have avoided the place of my soul.» — la confesión con que arranca el Liber Primus, cap. IV, *The Desert*: Jung ha eludido el lugar de su alma.

«Only life is true, and only life leads me into the desert, truly not my thinking, that would like to return to thoughts, to men and events, since it feels uncanny in the desert.» — el deslinde del Liber Primus, cap. IV, *The Desert* entre vida y pensamiento: solo la vida lleva al desierto, y el pensamiento querría volverse a los hombres y a los sucesos.

«I had cultivated my spirit, the spirit of this time in me, but not that spirit of the depths that turns to the things of the soul, the world of the soul.» — el diagnóstico que Jung se hace en el Liber Primus, cap. IV, *The Desert*: cultivó el espíritu de este tiempo y no el de las profundidades, que atiende al mundo del alma.

«Wherever the creative power of desire is, there springs the soil’s own seed. But do not forget to wait.» — la condición del yermo en el Liber Primus, cap. IV, *The Desert*: donde está la fuerza creadora del deseo brota la semilla propia del suelo, y hay que esperar.

«Nobody can spare themselves the waiting and most will be unable to bear this torment, but will throw themselves with greed back at men, things, and thoughts, whose slaves they will become from then on.» — lo que el Liber Primus, cap. IV, *The Desert* predice de quien no soporte esa espera: se arroja a los hombres, las cosas y los pensamientos y se hace su esclavo.

«After a hard struggle I have come a piece of the way nearer to you. How hard this struggle was! I had fallen into an undergrowth of doubt, confusion, and scorn. I recognize that I must be alone with my soul.» — la apertura de *Experiences in the Desert*: Jung reconoce que ha de quedarse a solas con su alma (Liber Primus).

«You are to me like a shady tree in the wilderness.» — la imagen con que Jung se dirige al alma en el Liber Primus, *Experiences in the Desert*.

«My faith is weak, my face is blind from all that shimmering blaze of the desert sun.» — la declaración de flaqueza de Jung en el Liber Primus, *Experiences in the Desert*, cegado por el resplandor del sol del desierto.

«I know that everything you say, Oh my soul, is also my thought. But I hardly live according to it.» — la respuesta de Jung al alma en el Liber Primus, *Experiences in the Desert*: reconoce que lo que ella dice es también su pensamiento y que apenas vive conforme a él.

«You are full, yes, you teem with intentions and desirousness!» — el reproche del alma a Jung en el Liber Primus, *Experiences in the Desert*: rebosa de intenciones y de avidez.

«I would always like to refer to the fact that I am a human being, just a human being who» — la excusa que Jung se sorprende queriendo alegar ante el alma en el Liber Primus, *Experiences in the Desert*, ser solo un ser humano; la frase se corta en el límite de segmento del troceo.

«But the soul said, “Is this what you think it means to be human?” You are hard, my soul, but you are right.» — el alma le devuelve a Jung su excusa en forma de pregunta, y él le da la razón llamándola dura (Liber Primus, *Experiences in the Desert*).

«We should grow like a tree that likewise does not know its law. We tie ourselves up with intentions, not mindful of the fact that intention is the limitation, yes, the exclusion of life.» — la objeción del Liber Primus, *Experiences in the Desert* a la intención: excluye la vida, y hay que crecer como el árbol que no conoce su ley.

«We believe that we can illuminate the darkness with an intention, and in that way aim past the light.» — la trampa que el Liber Primus, *Experiences in the Desert* atribuye a la intención: creyendo alumbrar la oscuridad, se apunta más allá de la luz.

«My soul answered, “Then listen, do you think little of me? Do you still not know that you are not writing a book to feed your vanity, but that you are speaking with me?» — el alma le recuerda a Jung, en el Liber Primus, *Experiences in the Desert*, que no escribe un libro para su vanidad sino que habla con ella.

«I am seized by fear, but I know I must go in. I crawl through a narrow crack in the rock and reach an inner cave whose bottom is covered with black water. But beyond this I catch a glimpse of a luminous red stone which I must reach. I wade through the muddy water. The cave is full of the frightful noise of shrieking voices.83 I take the stone, it covers a dark opening in the rock. I hold the stone in my hand, peering around inquiringly. I do not want to listen to the voices, they keep me away.84 But I want to know.» — el arranque del Liber Primus, cap. V, *Descent into Hell in the Future*: Jung dice tener miedo y querer entrar, y no escuchar a las voces que lo apartan.

«Keep it far from me, science that clever knower,86 that bad prison master who binds the soul and imprisons it in a lightless cell.» — la invectiva contra la ciencia en el Liber Primus, cap. V, *Descent into Hell in the Future*, llamada mal carcelero que encierra el alma en celda sin luz.

«But above all protect me from the serpent of judgment, which only appears to be a healing serpent, yet in your depths is infernal poison and agonizing death.» — la petición del Liber Primus, cap. V, *Descent into Hell in the Future* contra la serpiente del juicio, que parece serpiente sanadora y lleva veneno infernal.

«I am stunned, but I want to be stunned, since I have sworn to you, my soul, to trust you even if you lead me through madness.» — el pacto que Jung declara con su alma en el Liber Primus, cap. V, *Descent into Hell in the Future*: confiar en ella aunque lo lleve por la locura.

«Take note of what the ancients taught us in images: madness is divine.» — lo que el Liber Primus, cap. V, *Descent into Hell in the Future* recoge de los antiguos: la locura es divina, dicho en imágenes.

«What I say here can be seen as sickness, but no one can see it as sickness more than I do.» — Jung se adelanta al cargo de enfermedad en el Liber Primus, cap. V, *Descent into Hell in the Future* y dice verlo así más que nadie.

«But also speak of sick delusion when the spirit of this time does not leave a man and forces him to see only the surface, to deny the spirit of the depths and to take himself for the spirit of the times.» — la vuelta del cargo en el Liber Primus, cap. V, *Descent into Hell in the Future*: también es delirio enfermo negar el espíritu de las profundidades y tomarse por el espíritu de los tiempos.

«But who can withstand fear when the divine intoxication and madness comes to him?» — la pregunta con que el Liber Primus, cap. V, *Descent into Hell in the Future* deja sin resolver la relación entre miedo, embriaguez divina y locura.

«The black beetle is the death that is necessary for renewal; and so thereafter, a new sun glowed, the sun of the depths, full of riddles, a sun of the night.» — la lectura que el Liber Primus, cap. V, *Descent into Hell in the Future* da a la visión del escarabajo negro y del sol de la noche que sale tras él.

«Therefore whoever considers the event from outside always sees only that it already was, and that it is always the same. But whoever looks from inside, knows that everything is new. The events that happen are always the same. But the creative depths of man are not always the same. Events signify nothing, they signify only in us.» — la tesis del Liber Primus, cap. V, *Descent into Hell in the Future* sobre los sucesos: nada significan por sí, significan solo en nosotros, y quien mira desde fuera ve siempre lo mismo.

«You are right to fear the spirit of the depths, as he is full of horror.» — el capítulo V del Liber Primus justifica el miedo al espíritu de las profundidades por estar lleno de horror.

«You did not believe it, but you would have known it if you had taken counsel with your fear.» — el capítulo V hace del propio miedo un consejero al que había que haber consultado (Liber Primus).

«create the meaning of events. The meaning is and always was artificial. We make it.» — la tesis más desnuda del Liber Primus, cap. V, *Descent into Hell in the Future*: el sentido es artificial y lo hacemos nosotros.

«That which you need comes from yourself, namely the meaning of the event. The meaning of events is not their particular meaning. This meaning exists in learnèd books. Events have no meaning. The meaning of events is the way of salvation that you create. The meaning of events comes from the possibility of life in this world that you create. It is the mastery of this world and the assertion of your soul in this world. This meaning of events is the supreme meaning, that is not in events, and not in the soul, but is the God standing between events and the soul, the mediator of life, the way, the bridge and the going across.» — el Liber Primus, cap. V, *Descent into Hell in the Future* define el sentido supremo como el dios que está entre el suceso y el alma: mediador, vía, puente y paso.

«But whom do people kill? They kill the noble, the brave, the heroes. They take aim at these and do not know that with these they mean themselves. They should sacrifice the hero in themselves, and because they do not know this, they kill their courageous brother.» — la lectura que el Liber Primus, cap. V, *Descent into Hell in the Future* hace de la matanza de la guerra: se mata al héroe fuera porque no se lo sacrifica dentro.

«If the hero in you is slain, then the sun of the depths rises in you, glowing from afar, and from a dreadful place.» — la consecuencia que el Liber Primus, cap. V, *Descent into Hell in the Future* anuncia del sacrificio del héroe interior: el sol de las profundidades se alza desde un lugar espantoso.

«But our ruler is the spirit of this time, which rules and leads in us all. It is the general spirit in which we think and act today. He is of frightful power, since he has brought immeasurable good to this world and fascinated men with unbelievable pleasure. He is bejewelled with the most beautiful heroic virtue, and wants to drive men up to the brightest solar heights, in everlasting ascent.» — el retrato que el Liber Primus, cap. V, *Descent into Hell in the Future* hace del espíritu de este tiempo: poder terrible que trajo bien inmenso y quiere subir a los hombres a las alturas solares.

«But the nameless spirit of the depths evokes everything that man cannot. Incapacity prevents further ascent. Greater height requires greater virtue. We do not possess it. We must first create it by learning to live with our incapacity. We must give it life. For how else shall it develop into ability? We cannot slay our incapacity and rise above it. But that is precisely what we wanted. Incapacity will overcome us and demand its share of life. Our ability will desert us, and we will believe, in the sense of the spirit of this time, that it is a loss. Yet it is no loss but a gain, not for outer trappings, however, but for inner capability.» — lo que el Liber Primus, cap. V, *Descent into Hell in the Future* contrapone: el espíritu sin nombre de las profundidades evoca lo que el hombre no puede, con ganancia interior y no exterior.

«The one who learns to live with his incapacity has learned a great deal.» — la enseñanza que el Liber Primus, cap. V, *Descent into Hell in the Future* pone en la incapacidad, no en la hazaña.

«If all heroism is erased, we fall back into the misery of humanity and into even worse. Our foundations will be caught up in excitement since our highest tension, which concerns what lies outside us, will stir them up. We will fall into the cesspool of our underworld, among the rubble of all the centuries in us.101 The heroic in you is the fact that you are ruled by the thought that this or that is good, that this or that performance is indispensable, this or that cause is objectionable, this or that goal must be attained in headlong striving work, this or that pleasure should be ruthlessly repressed at all costs. Consequently you sin against incapacity.» — el límite que el Liber Primus, cap. V, *Descent into Hell in the Future* pone a su propia crítica del heroísmo: borrarlo del todo hunde en la miseria, y quien lo hace peca contra la incapacidad.

«incapacity exists. No one should deny it, find fault with it, or shout it down.» — la exigencia de reconocer la incapacidad con que cierra el Liber Primus, cap. V, *Descent into Hell in the Future*.

«It is all frightfully muddled and interwoven. On this desert path there is not just glowing sand, but also horrible tangled invisible beings who live in the desert. I didn’t know this. The way is only apparently clear, the desert is only apparently empty.» — la advertencia con que se abre el Liber Primus, cap. VI, *Splitting of the Spirit*: el camino solo aparentemente está claro y el desierto solo aparentemente vacío.

«But the spirit of the depths approached me and said, “Climb down into your depths, sink!» — la orden del espíritu de las profundidades en el Liber Primus, cap. VI, *Splitting of the Spirit*.

«But I was indignant at him and said, “How can I sink? I am unable to do this myself.» — la objeción de Jung a esa orden en el Liber Primus, cap. VI, *Splitting of the Spirit*: no puede hundirse por sí mismo.

«Then the spirit spoke words to me that appeared ridiculous, and he said, “Sit yourself down, be calm.» — la respuesta que a Jung le pareció ridícula en el Liber Primus, cap. VI, *Splitting of the Spirit*, y que es la instrucción entera del método.

«Yet I indignantly answered, “Do you call light what we men call the worst darkness? Do you call day night?» — la protesta de Jung a su alma en el Liber Primus, cap. VI, *Splitting of the Spirit*, que llama luz a lo que los hombres tienen por la peor oscuridad.

«Ready, my soul, you who are a devil, to wrestle with you too. You donned the mask of a God, and I worshiped you. Now you wear the mask of a devil,» — Jung se dirige al alma llamándola diablo y consignando el cambio de máscara: la de dios que él adoraba y ahora la de diablo (Liber Primus, cap. VI, *Splitting of the Spirit*).

«Because I carried the war in me, I foresaw it.» — la explicación que el Liber Primus, cap. VI, *Splitting of the Spirit* da de las visiones de guerra: las previó por llevar la guerra dentro.

«Everything that becomes too old becomes evil, the same is true of your highest.» — la regla del Liber Primus, cap. VI, *Splitting of the Spirit* sobre la caducidad de lo más alto: lo que envejece demasiado se vuelve malo.

«If a God ceases being the way of life, he must fall secretly.» — la condición que el Liber Primus, cap. VI, *Splitting of the Spirit* pone al dios: si deja de ser vía de vida, cae en secreto.

«And thus was the fate of the people: The murder of one was the poisonous arrow that flew into the hearts of men, and kindled the fiercest war.» — la lectura del asesinato de Sarajevo en el Liber Primus, cap. VI, *Splitting of the Spirit* como flecha envenenada que encendió la guerra.

«We are still seeking the goat that should bear our sin.» — lo que el Liber Primus, cap. VI, *Splitting of the Spirit* imputa a su época: seguir buscando el chivo que cargue el pecado propio.

«The highest truth is one and the same with the absurd.» — la identidad que enuncia el Liber Primus, cap. VII, *Murder of the Hero* entre la verdad más alta y el absurdo.

«You can reach your God only as an assassin,120 if you want to overcome him.» — la fórmula más dura del Liber Primus, cap. VII, *Murder of the Hero*: al propio dios solo se llega como asesino si se lo quiere superar.

«Day does not exist through itself, night does not exist through itself. The reality that exists through itself is day and night.» — el argumento del Liber Primus, cap. VII, *Murder of the Hero* contra los términos aislados: ni el día ni la noche existen por sí, lo que existe por sí es día y noche.

«The greatest truth becomes the greatest lie, the brightest day becomes darkest night.» — la reversión que enuncia el Liber Primus, cap. VII, *Murder of the Hero*: la mayor verdad se vuelve la mayor mentira.

«If the God grows old, he becomes shadow, nonsense, and he goes down.» — lo que el Liber Primus, cap. VII, *Murder of the Hero* dice del dios envejecido: se hace sombra, sinsentido, y se hunde.

«Judge not! Think of the blond savage of the German forests, who had to betray the hammer-brandishing thunder to the pale Near-Eastern God who was nailed to the wood like a chicken marten. The courageous were overcome by a certain contempt for themselves. But their life force bade them to go on living, and they betrayed their beautiful wild Gods, their holy trees and their awe of the German forests.» — el Liber Primus, cap. VII, *Murder of the Hero* manda no juzgar y pone por caso a los germanos, que traicionaron a sus dioses salvajes y sus árboles santos por un dios clavado en el madero.

«If men kill their princes, they do so because they cannot kill their Gods, and because they do not know that they should kill their Gods in themselves.» — la equivalencia que propone el Liber Primus, cap. VII, *Murder of the Hero* entre el regicidio y el deicidio no cumplido dentro de uno.

«What does Siegfried mean for the Germans! What does it tell us that the Germans suffer Siegfried’s death! That is why I almost preferred to kill myself in order to spare him. But I wanted to go on living with a new God.» — Jung liga en el Liber Primus, cap. VII, *Murder of the Hero* la muerte de Sigfrido a los alemanes y a su propia alternativa: matarse o seguir viviendo con un dios nuevo.

«After death on the cross Christ went into the underworld and became Hell. So he took on the form of the Antichrist, the dragon.» — la lectura que el Liber Primus, cap. VII, *Murder of the Hero* hace del descenso de Cristo: se volvió infierno y tomó la forma del Anticristo, el dragón.

«The more you flee from the God, the more surely you fall into his hand.» — la trampa que el Liber Primus, cap. VII, *Murder of the Hero* enuncia sobre la huida del dios.

«The image of the Antichrist, which has come down to us from the ancients, announces the new God, whose coming the ancients had foreseen.» — la función que el Liber Primus, cap. VII, *Murder of the Hero* da a la figura del Anticristo: anunciar al dios nuevo que los antiguos previeron.

«I spoke to my soul and said, “This new world appears weak and artificial to me.» — la objeción que Jung le hace a su alma al abrirse el Liber Primus, cap. VIII, *The Conception of the God*: el mundo nuevo le parece débil y artificial.

«Fear is your herald, doubt stands to your right, disappointment to your left.» — el séquito con que el Liber Primus, cap. VIII, *The Conception of the God* describe al dios que llega: el miedo por heraldo, la duda a la derecha y la decepción a la izquierda.

«You will come over them in the hour of their disgrace, and will become known to them in what they hate, fear, and abhor.» — el modo en que, según el Liber Primus, cap. VIII, *The Conception of the God*, el dios se da a conocer: en la hora de la vergüenza y en lo que se odia, teme y aborrece.

«Our eyes were blinded and our knowledge fell silent when we received your radiance.» — el efecto que el Liber Primus, cap. VIII, *The Conception of the God* atribuye al resplandor del dios: ciega la vista y calla el saber.

«You will wring truthful prayers from your believers, and they must speak of your glory in tongues that are atrocious to them.» — lo que el Liber Primus, cap. VIII, *The Conception of the God* anuncia de los creyentes del dios nuevo: hablarán de su gloria en lenguas que les resultan atroces.

«I also know that the salvation of mercy is given only to those who believe in the highest and faithlessly betray themselves for thirty pieces of silver.» — la condición paradójica de la salvación en el Liber Primus, cap. VIII, *The Conception of the God*: se da a quien cree en lo más alto y se traiciona a sí mismo por treinta monedas.

«No one knows what happened during the three days Christ was in Hell. I have experienced it.» — la pretensión más fuerte del Liber Primus, cap. VIII, *The Conception of the God*: nadie sabe qué pasó en los tres días de Cristo en el infierno y quien habla dice haberlo experimentado.

«Therefore after his death Christ had to journey to Hell, otherwise the ascent to Heaven would have become impossible for him.» — la necesidad que el Liber Primus, cap. VIII, *The Conception of the God* atribuye al descenso: sin infierno no habría sido posible la ascensión.

«It is good, though, that you fear yourselves; say it out loud that you are afraid of yourselves. It is wisdom to fear oneself. Only the heroes say that they are fearless. But you know what happens to the hero.» — la instrucción del Liber Primus, cap. VIII, *The Conception of the God* de decir en voz alta el miedo a uno mismo, y su reserva sobre los héroes sin miedo.

«With fear and trembling, looking around yourselves with mistrust, go thus into the depths, but do not do this alone; two or more is greater security since the depths are full of murder.» — la instrucción de bajar acompañado que da el Liber Primus, cap. VIII, *The Conception of the God*, porque las profundidades están llenas de asesinato.

«He who journeys to Hell also becomes Hell; therefore do not forget from whence you come.» — la advertencia del Liber Primus, cap. VIII, *The Conception of the God*: quien viaja al infierno se vuelve infierno.

«The depths are stronger than us; so do not be heroes, be clever and drop the heroics, since nothing is more dangerous than to play the hero.» — la prescripción antiheroica del Liber Primus, cap. VIII, *The Conception of the God*: nada más peligroso que hacerse el héroe.

«We cannot slay death, as we have already taken all life from it. If we still want to overcome death, then we must enliven it.» — la paradoja del Liber Primus, cap. VIII, *The Conception of the God* sobre la muerte: no se la puede matar porque ya se le quitó toda vida, así que hay que vivificarla.

«Therefore on your journey be sure to take golden cups full of the sweet drink of life, red wine, and give it to dead matter, so that it can win life back.» — la instrucción figurada del Liber Primus, cap. VIII, *The Conception of the God*: llevar copas de oro con vino rojo y darlo a la materia muerta para que recobre vida.

«But the deepest Hell is when you realize that Hell is also no Hell, but a cheerful Heaven, not a Heaven in itself, but in this respect a Heaven, and in that respect a Hell.» — lo que el Liber Primus, cap. VIII, *The Conception of the God* llama el infierno más hondo: descubrir que el infierno tampoco es infierno sino cielo según se lo mire.

«That is the ambiguity of the God: he is born from a dark ambiguity and rises to a bright ambiguity. Unequivocalness is simplicity and leads to death.141 But ambiguity is the way of life.» — la ambigüedad que el Liber Primus, cap. VIII, *The Conception of the God* atribuye al dios y hace vía de vida.

«If the left foot does not move, then the right one does, and you move. The God wills this.143 You say: the Christian God is unequivocal, he is love.144 But what is more ambiguous than love? Love is the way of life, but your love is only on the way of life if you have a left and a right. Nothing is easier than to play at ambiguity and nothing is more difficult than living ambiguity. He who plays is a child; his God is old and dies. He who lives is awakened; his God is young and goes on.» — la imagen del andar con que el Liber Primus, cap. VIII, *The Conception of the God* figura la voluntad del dios y el vivir despierto.

«I also recognized that my enmity is decided upon in the God. He is mockery and hate and anger, since this is also a way of life.» — lo que Jung reconoce en el Liber Primus, cap. VIII, *The Conception of the God*: que su propia enemistad se decide en el dios, que es también burla, odio e ira.

«The Gods love perfection because it is the total way of life.» — la razón que el Liber Primus, cap. VIII, *The Conception of the God* da del amor de los dioses por la perfección.

«If we set a God outside of ourselves, he tears us loose from the self, since the God is more powerful than we are. Our self falls into privation. But if the God moves into the self, he snatches us from what is outside us.» — la mecánica que el Liber Primus, cap. VIII, *The Conception of the God* describe: el dios puesto fuera arranca del sí-mismo, y el dios entrado en el sí-mismo arranca de lo de fuera.

«God becomes communal in reference to what is outside us, but single in relation to us. No one has my God, but my God has everyone, including myself.» — la fórmula del Liber Primus, cap. VIII, *The Conception of the God* sobre lo común y lo propio del dios: nadie tiene a mi dios, pero mi dios tiene a todos.

«The hero must fall for the sake of our redemption, since he is the model and demands imitation.» — la razón que el Liber Primus, cap. VIII, *The Conception of the God* da de la caída del héroe: es modelo y exige imitación.

«We should become reconciled to solitude in ourselves and to the God outside of us. If we enter into this solitude then the life of the God begins. If we are in ourselves, then the space around us is free, but filled by the God.» — lo que el Liber Primus, cap. VIII, *The Conception of the God* propone en lugar de la imitación del héroe: reconciliarse con la soledad propia y con el dios de fuera.

«If you desire yourself, you produce the divine son in your embrace with yourself.» — la fórmula del Liber Primus, cap. VIII, *The Conception of the God* sobre el deseo de sí como engendramiento del hijo divino.

«If you are in your solitude, and all the space around you has become cold and unending, then you have moved far from men, and at the same time you have come near to them as never before.» — la paradoja de la soledad en el Liber Primus, cap. VIII, *The Conception of the God*: alejarse de los hombres y acercarse a ellos como nunca.

«God leads you to the God of others, and through that to the true neighbor, to the neighbor of the self in others.» — la mediación que el Liber Primus, cap. VIII propone: el dios propio conduce al dios ajeno y al prójimo verdadero.

«If you are in yourself, you become aware of your incapacity. You will see how little capable you are of imitating the heroes and of being a hero yourself.» — lo que el Liber Primus, cap. VIII anuncia a quien esté en sí mismo: la conciencia de la propia incapacidad de imitar héroes.

«On the night when I considered the essence of the God, I became aware of an image: I lay in a dark depth. An old man stood before me. He looked like one of the old prophets.156 A black serpent lay at his feet.» — la visión con que arranca el Liber Primus, cap. IX, *Mysterium. Encounter*: el anciano con aspecto de profeta antiguo y la serpiente negra a sus pies.

«A beautiful maiden steps out of the door. She walks uncertainly and I see that she is blind.» — la aparición de la doncella ciega en el Liber Primus, cap. IX, *Mysterium. Encounter*, que resultará ser Salomé.

«As I look into its reflection, the images of Eve, the tree, and the serpent appear to me. After this I catch sight of Odysseus and his journey on the high seas.» — lo que Jung ve en la piedra clara del salón en el Liber Primus, cap. IX, *Mysterium. Encounter*: Eva, el árbol y la serpiente, y luego Odiseo en su travesía.

«E: “I am Elijah157 and this is my daughter Salome.”158 I: “The daughter of Herod, the bloodthirsty woman?” E: “Why do you judge so? You see that she is blind. She is my daughter, the daughter of the prophet.» — Elías se presenta en el Liber Primus, cap. IX, *Mysterium. Encounter* y da a Salomé por hija suya, contra la objeción de Jung de que es la hija de Herodes; el 157 dentro de la cita es la llamada a nota del volumen.

«E: “It is no miracle, it was so from the beginning. My wisdom and my daughter are one.» — Elías declara en el Liber Primus, cap. IX, *Mysterium. Encounter* que su sabiduría y su hija son una sola cosa.

«E: “Consider this: her blindness and my sight have made us companions through eternity.» — la razón que Elías da de esa unión en el Liber Primus, cap. IX, *Mysterium. Encounter*: la ceguera de ella y la vista de él los hacen compañeros por la eternidad.

«You, Elijah, who are a prophet, the mouth of God, and she, a bloodthirsty horror. You are the symbol of the most extreme contradiction.” E: “We are real and not symbols.» — Jung llama a la pareja símbolo de la contradicción extrema en el Liber Primus, cap. IX, *Mysterium. Encounter*, y Elías se lo niega: son reales, no símbolos.

«Who murdered the hero? Is this why Salome loves me? Do I love her, and did I therefore murder the hero? She is one with the prophet, one with John, but also one with me? Woe, was she the hand of the God? I do not love her, I fear her. Then the spirit of the depths spoke to me and said: “Therein you acknowledge her divine power.» — el desconcierto de Jung ante Salomé en el Liber Primus, cap. IX, *Mysterium. Encounter*, que dice temerla y no amarla, y la respuesta del espíritu de las profundidades, que ve en ese temor el reconocimiento de su poder divino.

«This play that I witnessed is my play, not your play. It is my secret, not yours. You cannot imitate me. My secret remains virginal and my mysteries are inviolable, they belong to me and cannot belong to you. You have your own.» — la advertencia de la segunda capa del Liber Primus, cap. IX, *Mysterium. Encounter*, marcada con el 2 entre corchetes: el drama es propio y no se imita, y el lector tiene el suyo.

«He who enters into his own must grope through what lies at hand, he must sense his way from stone to stone.» — el modo de andar que la segunda capa del Liber Primus, cap. IX, *Mysterium. Encounter* prescribe a quien entra en lo propio: a tientas, de piedra en piedra.

«He must embrace the worthless and the worthy with the same love. A mountain is nothing, and a grain of sand holds kingdoms, or also nothing. Judgment must fall from you, even taste, but above all pride, even when it is based on merit.» — lo que la segunda capa del Liber Primus, cap. IX, *Mysterium. Encounter* manda dejar caer: el juicio, el gusto y sobre todo el orgullo, aun el merecido.

«But let your hope, which is your highest good and highest ability, lead the way and serve you as a guide in the world of darkness, since it is of like substance with the forms of that world.» — la única guía que el Liber Primus, cap. IX, *Mysterium. Encounter* deja para el mundo de la oscuridad: la esperanza, por ser de la misma sustancia que las formas de ese mundo.

«But because I am a part of the matter and formation of the world, I also come into the primordial beginning of the world in the first place.» — el razonamiento del Liber Primus, cap. X, *Instruction* sobre el comienzo primordial: quien habla llega a él por ser parte de la materia y la formación del mundo.

«Yet it is given only to my depths, not to my surface, which is a formed and determined consciousness.» — el límite que el Liber Primus, cap. X, *Instruction* pone a ese acceso: se da a las profundidades y no a la superficie, que es conciencia formada y determinada.

«But pleasure is the force that desires and destroys forms without form and definition.» — la definición de placer del Liber Primus, cap. X, *Instruction*: fuerza que desea y destruye formas, sin forma ni definición propia.

«The forethinker is a seer, but pleasure is blind. It does not foresee, but desires what it touches.» — el par que gobierna el Liber Primus, cap. X, *Instruction*: el previsor es vidente y el placer es ciego.

«Forethinking is not powerful in itself and therefore does not move. But pleasure is power, and therefore it moves.» — el reparto de fuerza en el Liber Primus, cap. X, *Instruction*: la previsión no mueve porque no es potente, el placer sí.

«The earthly (numen loci) separates forethinking and pleasure in man, but not in itself.» — lo que el Liber Primus, cap. X, *Instruction* atribuye a lo terrestre, llamado *numen loci*: separa previsión y placer en el hombre, no en sí mismo.

«One cannot live with forethinking alone, or with pleasure alone. You need both. But you cannot be in forethinking and in pleasure at the same time, you must take turns being in forethinking and pleasure, obeying the prevailing law,» — la alternancia que el Liber Primus, cap. X, *Instruction* prescribe entre previsión y placer, por no poder vivirse con una sola.

«Some love thinking and establish the art of life on it. They practice their thinking and their circumspection, so they lose their pleasure.» — lo que el Liber Primus, cap. IX, segunda capa le imputa a quien funda el arte de vivir en el pensar: pierde el placer.

«Thus the serpent is an adversary and a symbol of enmity, but also a wise bridge that connects right and left through longing, much needed by our life.» — la doble figura de la serpiente en el Liber Primus, cap. IX, segunda capa: adversaria y símbolo de enemistad, y a la vez puente sabio que une derecha e izquierda por el anhelo.

«A thinker should fear Salome, since she wants his head, especially if he is a holy man. A thinker cannot be a holy person, otherwise he loses his head. It does not help to hide oneself in thought.» — la advertencia del Liber Primus, cap. IX, segunda capa al pensador sobre Salomé, que quiere su cabeza, y la inutilidad de esconderse en el pensamiento.

«Because I was a thinker and caught sight of the hostile principle of pleasure from forethinking, it appeared to me as Salome.» — la clave de lectura que Jung da de su propia visión en el Liber Primus, cap. IX, segunda capa: el principio del placer, visto desde la previsión, se le apareció como Salomé.

«What a thinker does not think he believes does not exist, and what one who feels does not feel he believes does not exist.» — la simetría que el Liber Primus, cap. IX, segunda capa establece entre el pensador y quien siente: cada uno niega existencia a lo que le falta.

«Not only do you venerate the object, but the object also sanctifies you.» — la reciprocidad que el Liber Primus, cap. IX, segunda capa señala en la veneración.

«But Salome did not love God, and this profaned her.» — lo que el Liber Primus, cap. IX, segunda capa dice de Salomé: no amó a Dios, y eso la profanó.

«May the thinking person accept his pleasure, and the feeling person accept his own thought.» — la prescripción con que cierra el Liber Primus, cap. IX, segunda capa: que el que piensa acepte su placer y el que siente, su pensamiento.

«E: “Are you anxious? Your ignorance is to blame for your bad conscience. Not-knowing is guilt, but you believe that it is the urge toward forbidden knowledge that causes your feeling of guilt.» — Elías, en el Liber Primus, cap. X, *Instruction*, le adjudica la mala conciencia a la ignorancia y no al saber prohibido: no saber es la culpa.

«E: “You are lying. Do you not know that you yourself recognized what it means if Salome loves you?» — Elías acusa a Jung de mentir en el Liber Primus, cap. X, *Instruction* sobre lo que él mismo reconoció acerca del amor de Salomé.

«E: “Will you therefore confuse yourself with a tree or animal, because you look at them and because you exist with them in one and the same world? Must you be your thoughts, because you are in» — Elías replica en el Liber Primus, cap. X, *Instruction* con una analogía contra la identificación de Jung con sus pensamientos.

«E: “You may call us symbols for the same reason that you can also call your fellow men symbols, if you wish to. But we are just as real as your fellow men. You invalidate nothing and solve nothing by» — Elías admite en el Liber Primus, cap. X, *Instruction* que se los llame símbolos, con la condición de llamar también símbolos a los semejantes, y niega que con eso se invalide o se resuelva algo.

«E: “We are certainly what you call real. Here we are, and you have to accept us. The choice is yours.» — Elías afirma en el Liber Primus, cap. X, *Instruction* la realidad de las figuras y le devuelve a Jung la elección.

«If you do not acknowledge your yearning, then you do not follow yourself, but go on foreign ways that others have indicated to you.» — la consecuencia que el Liber Primus, cap. X, *Instruction* saca de no reconocer el propio anhelo: andar caminos ajenos.

«It is not only stupid to exchange your own life for an alien one, but also a hypocritical game, because you can never really live the life of others, you can only pretend to do it, deceiving the other and yourself, since you can only live your own life.» — la objeción del Liber Primus, cap. X, *Instruction* a vivir la vida de otro: no es solo necio, es juego hipócrita, porque nunca se vive de veras la vida ajena.

«If you give up your self, you live it in others; thereby you become selfish to others, and thus you deceive others.» — la vuelta que el Liber Primus, cap. X, *Instruction* le da al altruismo: quien renuncia a su sí-mismo lo vive en otros y así los engaña.

«murdered, since we have all been aping him. Do you know why you cannot abandon apishness? For fear of loneliness and defeat.» — la razón que el Liber Primus, cap. X, *Instruction* da de la imitación: miedo a la soledad y a la derrota.

«To live oneself means: to be one’s own task. Never say that it is a» — la fórmula del Liber Primus, cap. X, *Instruction* sobre vivirse a sí mismo como tarea propia; la frase se corta en el cambio de plana del troceo.

«If you want to create yourself, then you do not begin with the best and the highest, but with the worst and the deepest.» — el orden que el Liber Primus, cap. X, *Instruction* impone al que quiera crearse: empezar por lo peor y lo más hondo.

«Although I am not the son of the God myself, I represent him nevertheless as one who was a mother to the God, and one therefore to whom in the name of the God the freedom of the binding and loosing has been given.» — lo que Jung se atribuye en la segunda capa del Liber Primus, cap. X, *Instruction*: no ser hijo del dios pero representarlo como quien fue madre del dios, con potestad de atar y desatar.

«I am not master over you, but the being of the God in me. I lock the past with one key, with the other I open the future. This takes place through my transformation. The miracle of transformation commands. I am its servant, just as the Pope is. You see how incredible it was to believe such of oneself.194 It applies not to me, but to the symbol.» — la acotación con que el Liber Primus, cap. X, *Instruction* acota esa potestad: no es él quien manda, sino el ser del dios en él, y lo dicho vale para el símbolo.

«If you look for a light, you fall first into an even deeper darkness.» — la advertencia del Liber Primus, cap. X, *Instruction* a quien busque luz.

«I believed in the order of the world and hated everything disorganized and unformed.» — la confesión de Jung en el Liber Primus, cap. X, *Instruction* sobre su propia creencia en el orden del mundo y su odio a lo informe.

«My thoughts are not my self, but exactly like the things of the world, alive and dead.» — la tesis del Liber Primus, cap. X, *Instruction* sobre los propios pensamientos: son como las cosas del mundo, vivos y muertos, y no el sí-mismo.

«I am in danger of believing that I myself am significant since I see the significant.» — el peligro que Jung se señala en el Liber Primus, cap. X, *Instruction*: creerse significativo por ver lo significativo.

«Just as my thinking is the son of forethinking, so is my pleasure the daughter of love, of the innocent and conceiving mother of God.» — la genealogía que el Liber Primus, cap. X, *Instruction* traza entre pensar y previsión, placer y amor.

«If you crush the covering of shame, and when the two become one, and the male with the female, neither male nor female.» — la sentencia que el Liber Primus, cap. X, *Instruction* pone en boca de la figura femenina, de eco gnóstico: cuando los dos se hacen uno, ni varón ni hembra.

«On the third night, deep longing to continue experiencing the mysteries seized me. The struggle between doubt and desire was great in me.» — la apertura del Liber Primus, cap. XI, *Resolution*: el anhelo de seguir en los misterios y la lucha entre la duda y el deseo.

«I saw the fight of two formidable serpents. It seemed to me as if the black would overcome the white serpent; but behold, the black one withdrew and its head and the top part of its body had turned white.» — la visión de las dos serpientes en el Liber Primus, cap. XI, *Resolution*, donde la negra se retira con la cabeza y el torso vueltos blancos.

«I have thought it over, but I cannot understand it. Should it mean that the power of the good light will become so great that even the darkness that resists it will be illumined by it?» — la conjetura con que Jung intenta leer esa visión en el Liber Primus, cap. XI, *Resolution*, dicha como pregunta y no como sentencia.

«I catch sight of the prophet high above me. His hand makes an averting movement, and I abandon my decision to climb up.» — el gesto de Elías que detiene a Jung en el Liber Primus, cap. XI, *Resolution*.

«The prophet stands on this stone and says: “This is the temple of the sun. This place is a vessel, that collects the light of the sun.» — Elías nombra el lugar en el Liber Primus, cap. XI, *Resolution*: templo del sol, y la piedra, vaso que recoge su luz.

«I notice, Elijah, that you have shown me and let me experience all sorts of strange things and allowed me to come before you today. But I confess that it is all dark to me.» — la confesión de Jung a Elías en el Liber Primus, cap. XI, *Resolution*: le han mostrado muchas cosas extrañas y todo le sigue oscuro.

«No longer do I yearn—I see the divine child, with the white serpent in his right hand, and the black serpent in his left hand.» — la visión del niño divino con las dos serpientes con que se resuelve el Liber Primus, cap. XI, *Resolution*.

«Forethinking is singleness, love is togetherness. Both need one another, and yet they kill one another.» — el par que el Liber Primus, cap. XI, *Resolution* deja sin síntesis: previsión y amor se necesitan y se matan.

«Great is he who is in love, since love is the present act of the great creator, the present moment of the becoming and lapsing of the world. Mighty is he who loves. But whoever distances himself from love, feels himself powerful.» — la contraposición del Liber Primus, cap. XI, *Resolution* entre quien ama y quien se aparta del amor: el primero es grande, el segundo se siente poderoso.

«Therefore my forethinking in the principle222 of the heavenly mother becomes an ugly dwarf who lives in a dark cave like an unborn in the womb.» — la figura del enano feo con que el Liber Primus, cap. XI, *Resolution* representa la previsión bajo el principio de la madre celeste.

«Therefore I lost courage, until I found the serpent that at once led me across to the other principle.» — la función de puente que el Liber Primus, cap. XI, *Resolution* da a la serpiente entre los dos principios.

«But he does not see the conflict in his own soul, which is however the source of the outer disaster.» — lo que el Liber Primus, cap. XI, *Resolution* imputa al que se aparta del amor: no ver el conflicto de su alma, que es la fuente del desastre de fuera.

«In your forethinking you recognize the nullity of your current being as a smallest point between the infinity of what has passed and of what is to come. The thinker is small, he feels great if he distances» — lo que el Liber Primus, cap. XI, *Resolution* dice del pensador: se reconoce nulo entre dos infinitos y se siente grande al distanciarse.

«But the depths do not hesitate any longer and will force you into the mysteries of Christ.» — lo que el Liber Primus, cap. XI, *Resolution* anuncia: las profundidades fuerzan a entrar en los misterios de Cristo.

«In the end I found that I wanted myself in everything, but without looking for myself. Therefore I no longer wanted to seek myself outside of myself, but within. Then I wanted to grasp myself, and then I wanted to go on again, without knowing what I wanted, and thus I fell into the mystery.» — el balance con que Jung cierra el Liber Primus, cap. XI, *Resolution*: se quería a sí mismo en todo sin buscarse, y al querer asirse cayó en el misterio.

«You should not, but you do will that error which you take for the best truth, as men have always done.» — lo que el Liber Primus, cap. XI, *Resolution* le dice al lector sobre el error que toma por su mejor verdad.

«If you do not succeed in producing the greatest evil out of this war, you will never learn the violent deed and learn to overcome fighting what lies outside you.» — el argumento más duro del Liber Primus, cap. XI, *Resolution* sobre la guerra: si de ella no sale el mayor mal, no se aprenderá a dejar de combatir lo de fuera.

«If you succeed in making a terrible evil out of this war and throw innumerable victims into this abyss, this is good, since it makes each of you ready to sacrifice himself.» — la contrapartida que el Liber Primus, cap. XI, *Resolution* enuncia: si la guerra se vuelve mal terrible, cada uno queda dispuesto a sacrificarse a sí mismo.

«If blood, fire, and the cry of distress fill this world, then you will recognize yourself in your acts: Drink your fill of the bloody atrocities of the war, feast upon the killing and destruction, then your eyes will open, you will see that you yourselves are the bearers of such fruit.» — la exhortación atroz del Liber Primus, cap. XI, *Resolution* a saciarse de las atrocidades de la guerra para reconocerse en los propios actos.

«They will all become terribly enraptured by these tremendous experiences, and in their blindness will want to understand them as outer events. It is an inner happening; that is the way to the perfection of the mystery of Christ,235 so that the peoples learn self-sacrifice.» — la corrección de lectura que el Liber Primus, cap. XI, *Resolution* impone: lo que la guerra muestra es suceso interior, y quien lo tome por suceso exterior lo lee ciego.

«I saw a new God, a child, who subdued daimons in his hand.237 The God holds the separate principles in his power, he unites them. The God develops through the union of the principles in me. He is their union.» — la figura del dios niño en el Liber Primus, cap. XI, *Resolution*: no resuelve los principios, los tiene en su mano y es su unión.

«If you will one of these principles, so you are in one, but far from your being other. If you will both principles, one and the other, then you excite the conflict between the principles, since you cannot want both at the same time.» — el dilema que el Liber Primus, cap. XI, *Resolution* plantea: querer un principio deja fuera al otro, y querer los dos enciende el conflicto.

«From this arises the need, the God appears in it, he takes your conflicting will in his hand, in the hand of a child whose will is simple and beyond conflict. You cannot learn this, it can only develop in you. You cannot will this, it takes the will from your hand and wills itself. Will yourself, that leads to the way.» — lo que el Liber Primus, cap. XI, *Resolution* pone en lugar del aprendizaje: el dios toma la voluntad en conflicto y se quiere a sí mismo, y esto no se aprende ni se quiere.

«But fundamentally you are terrified of yourself, and therefore you prefer to run to all others rather than to yourself.» — el diagnóstico del Liber Primus, cap. XI, *Resolution*: el terror a uno mismo es lo que empuja hacia los demás.

«The spirit of the depths239 has seized mankind and forces self-sacrifice upon it. Do not seek the guilt here or there. The spirit of the depths clutched the fate of man unto itself, as it clutched mine. He leads mankind through the river of blood to the mystery. In the mystery man himself becomes the two principles, the lion and the serpent.» — lo que el Liber Primus, cap. XI, *Resolution* atribuye al espíritu de las profundidades sobre la humanidad, y su prohibición de buscar la culpa aquí o allá; el 239 dentro de la cita es la llamada a nota.

«Because I also want my being other, I must become a Christ. I am made into Christ, I must suffer it. Thus the redeeming blood flows. Through the self-sacrifice my pleasure is changed and goes above into its higher principle. Love is sighted, but pleasure is blind.» — el cierre del Liber Primus, cap. XI, *Resolution*: querer el propio ser otro obliga a hacerse Cristo, y por el autosacrificio el placer sube a su principio superior.

«The mystery showed me in images what I should afterward live. I did not possess any of those boons that the mystery showed me, for I still had to earn all of them.» — la última acotación del Liber Primus antes del *finis part. prim.*: el misterio mostró en imágenes lo que quedaba por vivir y por ganar.

«nolite audire verba prophetarum, qui prophetant vobis et decipiunt vos: visionem cordis sui loquuntur, non de ore Domini. audivi quae dixerunt prophetae prophetantes in nomine meo mendacium, atque dicentes: somniavi, somniavi. usquequo istud est in corde prophetarum vaticinantium mendacium et prophetantium seductionem cordis sui? qui volunt facere ut obliviscatur populus meus nominis mei propter somnia eorum, quae narrat unusquisque ad proximum suum: sicut obliti sunt patres eorum nominis mei propter Baal. propheta, qui habet somnium, narret somnium et qui habet sermonem meum, loquatur sermonem meum vere: quid paleis ad triticum? dicit dominus.» — el epígrafe latino de Jeremías 23 con que se abre el Liber Secundus, contra los profetas que hablan la visión de su propio corazón.

«The door of the Mysterium has closed behind me. I feel that my will is paralyzed and that the spirit of the depths possesses me. I know nothing about a way. I can therefore neither want this nor that, since nothing indicates to me whether I want this or that. I wait, without knowing what I’m waiting for. But already in the following night I felt that I had reached a solid point.» — arranque del Liber Secundus, cap. I, *The Red One*: la puerta del misterio se cierra y Jung dice sentir paralizada la voluntad.

«I think: in the end he will turn out to be the devil.» — la sospecha de Jung sobre el Rojo, la figura con la que dialoga en el Liber Secundus, cap. I, *The Red One*.

«T. R.: “I hide nothing from you, you true-hearted soul. I simply amuse myself with your weighty seriousness and your comic veracity.» — el Rojo se burla en el Liber Secundus, cap. I, *The Red One* de la seriedad y la veracidad de Jung.

«You take literally what the scriptures say, otherwise you could not judge me so hard.» — el Rojo le imputa a Jung leer las escrituras al pie de la letra (Liber Secundus, cap. I, *The Red One*).

«I believe I have learned that no one is allowed to avoid the mysteries of the Christian religion unpunished.» — lo que Jung sostiene ante el Rojo en el Liber Secundus, cap. I, *The Red One*: nadie elude impunemente los misterios de la religión cristiana.

«T. R.: “Oh, I know, you mean life. I know this phrase. I too live and don’t let my hair turn white over it. Life doesn’t require any seriousness. On the contrary, it’s better to dance through life.» — el Rojo opone la danza a la seriedad en el Liber Secundus, cap. I, *The Red One*.

«T. R.: “Don’t you recognize me, brother, I am joy!» — la revelación del Rojo en el Liber Secundus, cap. I, *The Red One*: dice ser la alegría, no el diablo.

«they are real because they are effectual.15 It does not help that we say in the spirit of this time: there is no devil. There was one with me. This took place in me. I did with him what I could. I could speak with» — la razón que Jung da en la segunda capa del Liber Secundus, cap. I, *The Red One* para tomar en serio a estas figuras: son reales porque son eficaces.

«A religious conversation is inevitable with the devil, since he demands it, if one does not want to surrender to him unconditionally. Because religion is precisely what the devil and I cannot agree about. I must have it out with him, as I cannot expect that he as an independent personality would accept my standpoint without further ado. I would be fleeing if I did not try to come to an understanding with him. If ever you have the rare opportunity to speak with the devil, then do not forget to confront him in all seriousness. He is your devil after all. The devil as the adversary is your own other standpoint; he tempts you and sets a stone in your path where you least want it. Taking the devil seriously does not mean going over to his side, or else one becomes the devil.» — la regla que la segunda capa del Liber Secundus, cap. I, *The Red One* enuncia: con el diablo hay que conversar y tomarlo en serio, sin pasarse a su lado.

«If your joy is no devil for you, then possibly it is for your neighbors, since joy is the most supreme flowering and greening of life.» — lo que la segunda capa del Liber Secundus, cap. I, *The Red One* dice de la alegría: si no es diablo para uno, lo será para el prójimo.

«But you can make no pact with joy, because it immediately disappears. Therefore you cannot capture the devil either. Yes, it belongs to his essence that he cannot be captured. He is stupid if he lets himself be caught, and you gain nothing from having yet one more stupid devil.» — el límite que el Liber Secundus, cap. I, *The Red One* pone al pacto con la alegría, que desaparece en cuanto se pacta.

«If you run after it, you see that joy also has evil in it, since then you arrive at pleasure and from pleasure go straight to Hell, your own particular Hell, which turns out differently for everyone.» — la advertencia del Liber Secundus, cap. I, *The Red One*: perseguir la alegría lleva al placer y del placer al infierno propio de cada quien.

«Through my coming to terms with the devil, he accepted some of my seriousness, and I accepted some of his joy.» — el resultado que el Liber Secundus, cap. I, *The Red One* declara del trato con el diablo: intercambio de seriedad por alegría.

«It is always a risky thing to accept joy, but it leads us to life and its disappointment, from which the wholeness of our life becomes.» — la razón por la que el Liber Secundus, cap. I, *The Red One* recomienda aun así aceptar la alegría: lleva a la vida y a su decepción, de donde sale la integridad.

«In the second night thereafter, I am walking alone in a dark forest and I notice that I have lost my way.21 I am on a dark cart track and stumble through the darkness. I finally come to quiet, dark swamp water, and a small old castle stands at its center.» — arranque del Liber Secundus, cap. II, *The Castle in the Forest*: el bosque oscuro, el extravío y el castillo en medio del agua.

«I am truly in Hell—the worst awakening after death, to be resurrected in a lending library!» — el juicio de Jung sobre la biblioteca del castillo en el Liber Secundus, cap. II, *The Castle in the Forest*, que es su primera figura del infierno en este libro.

«She: “I am the old man’s daughter.» — la hija del viejo se presenta en el Liber Secundus, cap. II, *The Castle in the Forest*, figura con la que Jung dialoga en el castillo.

«She: “The more uncommon these highest truths are, the more inhuman must they be and the less they speak to you as something valuable or meaningful concerning human essence and being.» — la hija le objeta a Jung en el Liber Secundus, cap. II, *The Castle in the Forest* que cuanto más raras son las verdades más altas, menos hablan de lo humano.

«She: “You are mistaken, I am very common.» — la hija se declara común en el Liber Secundus, cap. II, *The Castle in the Forest*, contra la lectura que Jung hacía de ella.

«She: “So—you see: even banal reality is a redeemer.» — la sentencia de la hija en el Liber Secundus, cap. II, *The Castle in the Forest*: hasta la realidad banal redime.

«If no outer adventure happens to you, then no inner adventure happens to you either.» — la reciprocidad que enuncia la segunda capa del Liber Secundus, cap. II, *The Castle in the Forest* entre aventura exterior e interior.

«You achieve balance, however, only if you nurture your opposite. But that is hateful to you in your innermost core, because it is not heroic.» — la condición del equilibrio en el Liber Secundus, cap. II, *The Castle in the Forest*: nutrir lo contrario de uno, cosa que resulta odiosa por no ser heroica.

«The romantic is a step backward. To reach the way, one must sometimes also take a few steps backward.» — lo que el Liber Secundus, cap. II, *The Castle in the Forest* concede al romanticismo: es un paso atrás, y a veces hay que darlo.

«You, man, should not seek the feminine in women, but seek and recognize it in yourself, as you 8/9 possess it from the beginning.» — la prescripción del Liber Secundus, cap. II, *The Castle in the Forest* sobre lo femenino: buscarlo en uno mismo y no en las mujeres.

«But it amuses you and is easy to play at femininity, consequently man despises you because he despises his femininity.» — la explicación que el Liber Secundus, cap. II, *The Castle in the Forest* da del desprecio del varón por lo femenino: desprecia su propia feminidad.

«But if you remain with yourself, as a man who is himself and not of the devil, then you will remember your humanity. You will not behave toward women per se as a man, but as a human being, that is to say, as if you were of the same sex as her. You will recall your femininity. It may seem to you then as if you were unmanly, stupid, and feminine so to speak.» — lo que el Liber Secundus, cap. II, *The Castle in the Forest* anuncia a quien permanezca en sí mismo: se sentirá poco viril, necio y femenino.

«But you must accept the ridiculous, otherwise you will suffer distress, and there will come a time, when you are least observant, when it will suddenly round on you and make you ridiculous.» — la exigencia del Liber Secundus, cap. II, *The Castle in the Forest* de aceptar lo ridículo, so pena de que se vuelva contra uno.

«Man lives in two worlds. A fool lives here or there, but never here and there.» — la fórmula de los dos mundos en el Liber Secundus, cap. II, *The Castle in the Forest*, con el necio viviendo siempre en uno solo.

«Therefore you see those old scholars running after recognition in a ridiculous and undignified manner.» — lo que el Liber Secundus, cap. II, *The Castle in the Forest* imputa a los viejos eruditos: corren tras el reconocimiento.

«The soul demands your folly, not your wisdom.» — la exigencia que el Liber Secundus, cap. II, *The Castle in the Forest* atribuye al alma.

«Every other Hell was at least worth seeing or full of fun. But that is never Hell.» — lo que el Liber Secundus, cap. II, *The Castle in the Forest* dice del infierno propio, que no se parece a los infiernos vistosos.

«He: “You can go to the cinema in the evenings. That’s great and it’s cheap. You get to see everything that happens in the world.”» — lo que dice el hombre humilde con quien Jung habla en el Liber Secundus, cap. III, *One of the Lowly*, y que introduce la escena del rey de España.

«Incidentally—mustn’t it be a peculiarly beautiful feeling to hit bottom in reality at least once, where there is no going down any further, but only upward beckons at best?» — la pregunta que Jung se hace en el Liber Secundus, cap. III, *One of the Lowly* sobre tocar fondo en la realidad.

«Thus you do justice to the situation, perhaps at the expense of a general rule.» — el reparto que el Liber Secundus, cap. II, *The Castle in the Forest* propone entre hacer justicia a la situación y atenerse a la regla general.

«But on the way you can live both. Therefore the way redeems you.» — lo que el Liber Secundus, cap. II, *The Castle in the Forest* atribuye al camino: en él pueden vivirse las dos cosas, y por eso redime.

«Thus if you go through Hell, you should not forget to give due attention to whatever crosses your path.» — la instrucción del Liber Secundus, cap. II, *The Castle in the Forest* para el paso por el infierno: atender a lo que se cruce.

«He worked, lazed about, laughed, drank, ate, slept, gave his eye for the woman, and for her sake forfeited his good name; furthermore, he lived the human myth after a fashion, he admired the wonder-workers, praised the death of the tyrant, and vaguely dreamed of the freedom of the people.» — el balance de la vida del hombre humilde muerto en el Liber Secundus, cap. III, *One of the Lowly*, vivida como mito humano de segunda mano.

«If I am always on the heights, I wear them out and the best becomes atrocious to me. But because I do not want to have it, my best becomes a horror to me. Because of that I myself become a horror, a horror to myself and to others, and a bad spirit of torment.» — lo que la segunda capa del Liber Secundus, cap. III, *One of the Lowly* imputa a la permanencia en las alturas: desgasta lo mejor y vuelve a uno espíritu de tormento.

«A man who can no longer climb down from his heights is sick, and he brings himself and others to torment.» — el diagnóstico del Liber Secundus, cap. III, *One of the Lowly* sobre quien ya no puede bajar de sus alturas.

«If you have reached your depths, then you see your height light up brightly over you, worthy of desire and far-off, as if unreachable, since secretly you would prefer not to reach it since it seems unattainable to you.» — la reciprocidad de alturas y honduras en el Liber Secundus, cap. III, *One of the Lowly*, con la reserva de que uno prefiere en secreto no alcanzarlas.

«Everything is riddlesome to one who is becoming, but not to one who is. He who suffers from riddles should take thought of his lowest condition; we solve those riddles from which we suffer, but not those which please us. To be that which you are is the bath of rebirth.» — la distinción del Liber Secundus, cap. III, *One of the Lowly* entre el que deviene y el que es, y el ser lo que se es como baño de renacimiento.

«You think you are standing still like swamp water, but slowly you flow into the sea that covers the earth’s greatest deeps, and is so vast that firm land seems only an island imbedded in the womb of the immeasurable sea.» — la imagen del mar con que el Liber Secundus, cap. III, *One of the Lowly* objeta la impresión de quietud.

«He who abides in common life becomes aware of death with fear. Thus the fear of death drives him toward singleness.» — la cadena que el Liber Secundus, cap. III, *One of the Lowly* traza entre vida común, miedo a la muerte y singularidad.

«One who becomes grows aware of life, whereas one who simply exists never will, since he is in the midst of life.» — la razón por la que el que solo existe no se percata de la vida, según el Liber Secundus, cap. III, *One of the Lowly*.

«Your soul went to the moon, to the preserver of souls.40 Thus the soul moved toward death.41 I went into the inner death and saw that outer dying is better than inner death. And I decided to die outside and to live within.» — la resolución con que cierra el Liber Secundus, cap. III, *One of the Lowly*: el alma fue a la luna, guardadora de almas, y Jung decide morir fuera y vivir dentro.

«You must know one thing above all: a succession of words does not have only one meaning. But men strive to assign only a single meaning to the sequence of words, in order to have an unambiguous language. This striving is worldly and constricted, and belongs to the deepest layers of the divine creative plan. On the higher levels of insight into divine thoughts, you recognize that the sequence of words has more than one valid meaning. Only to the all-knowing is it given to know all the meanings of the sequence of words.» — la doctrina hermenéutica que Ammonius, el anacoreta, le expone a Jung en el Liber Secundus, cap. IV, *The Anchorite. Dies I*: una sucesión de palabras no tiene un solo sentido, y solo el omnisciente los conoce todos.

«I used to be a pagan, too, exactly like you as I 16/17 well remember.» — Ammonius se declara pagano de origen en el Liber Secundus, cap. IV, *The Anchorite. Dies I*; el 16/17 dentro de la cita es la remisión a las planas del facsímil, que el volumen conserva.

«I had a great throng of students, including many Romans, a few barbarians, and also some Gauls and Britons.» — Ammonius recuerda su escuela en el Liber Secundus, cap. IV, *The Anchorite. Dies I*, con romanos, bárbaros, galos y britanos.

«We rioted terribly among words and names, our own miserable creatures, and accorded divine potency to them. Yes, we even believed in their reality, and believed that we possessed the divine and had committed it to words.» — la autocrítica de Ammonius en el Liber Secundus, cap. IV, *The Anchorite. Dies I* sobre el desenfreno de palabras y nombres a los que se dio potencia divina.

«Through this the dead does not gain life, and the living is killed.» — lo que el Liber Secundus, cap. IV, *The Anchorite. Dies I* dice de la operación de tomar la palabra muerta por viva.

«The life of the solitary would be cold were it not for the immense sun, which makes the air and rocks glow.» — la imagen del solitario en la segunda capa del Liber Secundus, cap. IV, *The Anchorite. Dies I*, cuya vida sería fría sin el sol inmenso.

«He cannot tell you, since the splendor of his garden is so abundant. He stammers when he speaks of it, and he appears to you to be poor in spirit and in life.» — la razón por la que el solitario parece pobre en espíritu, según el Liber Secundus, cap. IV, *The Anchorite. Dies I*: no puede decir la abundancia de su jardín.

«It appears worthless to you, but if you consider it, you will see that this fruit tastes like a sun which you could not have dreamt of.» — la advertencia del Liber Secundus, cap. IV, *The Anchorite. Dies I* sobre el fruto que el solitario ofrece.

«The Summa52 lies before you like a book, and an unspeakable greed seizes you to devour it. Consequently you lean back and stiffen and sit for a long time. You are completely incapable of grasping it. Here and there a light flickers, here and there a fruit falls from high trees which you can grasp, here and there your foot strikes gold. But what is it, if you compare it with the totality, which lies spread out tangibly close to you? You stretch out your hand, but it remains hanging in invisible webs. You want to see it exactly as it is but something cloudy and opaque pushes itself exactly in between. You would like to tear a piece out of it; it is smooth and impenetrable like polished steel.» — la imagen de la Summa impenetrable en el Liber Secundus, cap. IV, *The Anchorite. Dies I*; el 52 dentro de la cita es la llamada a nota del volumen.

«The writing lies before you and always says the same, if you believe in words.» — lo que el Liber Secundus, cap. IV, *The Anchorite. Dies I* dice de la escritura para quien cree en las palabras.

«You cry out for the word which has one meaning and no other, so that you escape boundless ambiguity. The word becomes your God, since it protects you from the countless possibilities of interpretation.» — el diagnóstico del Liber Secundus, cap. IV, *The Anchorite. Dies I* sobre la exigencia de univocidad: la palabra unívoca se vuelve dios porque protege de la ambigüedad.

«You are saved if you can say at last: that is that and only that.» — la ironía del Liber Secundus, cap. IV, *The Anchorite. Dies I* sobre la salvación por la definición.

«He who breaks the wall of words overthrows Gods and defiles temples. The solitary is a murderer. He murders the people, because he thus thinks and thereby breaks down ancient sacred walls. He calls up the daimons of the boundless. And he sits, leans back, and does not hear the groans of mankind, whom the fearful fiery smoke has seized. And yet you cannot find the new words if you do not shatter the old words. But no one should shatter the old words, unless he finds the new word that is a firm rampart against the limitless and grasps more life in it than in the old word. A new word is a new God for old men.» — lo que el Liber Secundus, cap. IV, *The Anchorite. Dies I* atribuye a quien rompe el muro de las palabras, y la equivalencia entre palabra nueva y dios nuevo.

«The God of words is cold and dead and shines from afar like the moon, mysteriously and inaccessibly.» — la figura lunar del dios de las palabras en el Liber Secundus, cap. IV, *The Anchorite. Dies I*.

«Silence and peace come over you if you begin to comprehend the darkness.» — lo que el Liber Secundus, cap. IV, *The Anchorite. Dies I* promete a quien empiece a comprender la oscuridad.

«He probably does not know—we have no more prayers. How should he know about our nakedness and poverty? What has happened to our prayers? I miss them here. This must really be because of the desert. It seems as if there ought to be prayers here. Is this desert so very bad? I think it is no worse than our cities. But why then do we not pray there? I must look toward the sun, as if it had something to do with this. Alas—one can never escape the age-old dreams of mankind.» — lo que Jung se dice en el Liber Secundus, cap. V, *Dies II* sobre la falta de oraciones y la imposibilidad de escapar a los sueños antiquísimos de la humanidad.

«I’m worshiping an animal—that must be because of the desert. It seems absolutely to demand prayers. How beautiful it is here! The reddish color of the stones is wonderful; they reflect the glow of a hundred thousand past suns— these small grains of sand have rolled in fabulous primordial oceans, over them swam primordial monsters with forms never beheld before. Where were you, man, in those days? On this warm sand lay your childish primordial animal ancestors, like children snuggling up to their mother. O mother stone, I love you, I lie snuggled up against your warm body, your late child. Blessèd be you, ancient mother. 23/24 Yours is my heart and all glory and power—Amen. What am I saying? That was the desert. How everything appears so animated to me! This place is truly terrible. These stones—are they stones? They seem to have gathered here deliberately.» — el desconcierto de Jung en el Liber Secundus, cap. V, *Dies II* al sorprenderse adorando a un animal en el desierto.

«Although the thirsty desert surrounds us, an invisible stream of living water flows here.”» — lo que Ammonius dice del desierto en el Liber Secundus, cap. V, *Dies II*: por él corre una corriente invisible de agua viva.

«Don’t worry yourself because of that. If you do find a word, your soul has nevertheless found inexpressible words to greet the break of day.”» — Ammonius consuela a Jung en el Liber Secundus, cap. V, *Dies II* sobre la falta de palabras para la oración.

«Be astonished at nothing, and in no case condemn or regret it.» — la regla que Ammonius le da a Jung en el Liber Secundus, cap. V, *Dies II*.

«Although these words at first seemed laughable to me, they still made an impression on me, and reluctantly I had to 24/25 credit the old man, since he was right.» — lo que Jung concede a Ammonius en el Liber Secundus, cap. V, *Dies II*, a regañadientes.

«Dear Ammonius, I have delightful tidings for you: God has become flesh in his son and has brought us all salvation.”» — el anuncio que Jung le lleva a Ammonius en el Liber Secundus, cap. V, *Dies II*, y que desencadena la escena de Satán.

«If you say that our old teachings were less adequate expressions of Christianity, then I’m more likely to agree with you.”» — la concesión de Ammonius en el Liber Secundus, cap. V, *Dies II* sobre las enseñanzas antiguas y el cristianismo.

«He who comprehends the darkness in himself, to him the light is near.» — la sentencia del Liber Secundus, cap. V, *Dies II* sobre la oscuridad comprendida y la luz cercana.

«You wove witty jokes into the lecture to please your listeners.» — el reproche de Ammonius a Jung en el Liber Secundus, cap. V, *Dies II* sobre su modo de complacer a los oyentes.

«He who sleeps in the grave of the millennia dreams a» — la fórmula del Liber Secundus, cap. V, *Dies II* sobre quien duerme en la tumba de los milenios; la frase se corta en el límite de segmento del troceo.

«No sooner do you touch the earth than your inner life is over; it flees from you into things.» — lo que el Liber Secundus, cap. V, *Dies II*, segunda capa dice del contacto con la tierra: la vida interior huye a las cosas.

«The solitary fled the world; he closed his eyes, plugged his ears and buried himself in a cave within himself, but it was no use.» — el balance que el Liber Secundus, cap. V, *Dies II*, segunda capa hace de la fuga del solitario.

«You can suck the immensity of the small and the great into yourself, and you will become emptier and emptier, since immense fullness and immense emptiness are one and the same.» — la identidad que el Liber Secundus, cap. V, *Dies II*, segunda capa enuncia entre plenitud y vacío inmensos.

«But you find manifold meaning only in yourself, not in things, since the manifoldness of meaning is not something that is given at the same time, but is a succession of meanings.» — la tesis hermenéutica del Liber Secundus, cap. V, *Dies II*, segunda capa: el sentido múltiple no está en las cosas sino en uno, y es sucesión y no simultaneidad.

«Things also change, but you do not notice this if you do not change.» — la condición para ver el cambio de las cosas, según el Liber Secundus, cap. V, *Dies II*, segunda capa.

«I ate the earth and I drank the sun, and I became a greening tree that stands alone and grows.» — la imagen con que Jung cierra el Liber Secundus, cap. V, *Dies II*, segunda capa.

«The trees become sparse, wide swamp meadows accompany the still, murky water, the horizon is unending and lonely, draped by gray clouds. Slowly, with restrained breath, and with the great and anxious expectation of one gliding downward wildly on the foam and pouring himself into endlessness, I follow my brother, the sea. It flows softly and almost imperceptibly, and yet we continually approach the supreme embrace, entering the womb of the source, the boundless expansion and immeasurable depths. Lower yellow hills rise there. A broad dead lake widens at their feet. We wander along the hills quietly and they open up to a dusky, unspeakably remote horizon, where the sky and the sea are fused into infinity. Someone is standing there, on the last dune.» — el paisaje con que se abre el Liber Secundus, cap. VI, *Death* y la figura que aguarda en la última duna.

«He answered: “Stranger, you may well stand by me, if it is not too cold for you.» — la respuesta de la muerte a Jung en el Liber Secundus, cap. VI, *Death*.

«Why did you want to comprehend the darkness! But you had to or else it would have seized you.» — la razón que el Liber Secundus, cap. VI, *Death* da para haber comprendido la oscuridad: no hacerlo era ser tomado por ella.

«But did you know 30/31 what evil is, and that it stands precisely right behind your virtues, that it is also your virtues themselves, as their inevitable substance?» — la pregunta del Liber Secundus, cap. VI, *Death* sobre el mal que está detrás de las virtudes y es su sustancia; el 30/31 dentro de la cita es la remisión a las planas del facsímil.

«You locked Satan in the abyss for a millennium, and when the millennium had passed, you laughed at him, since he had become a children’s fairy tale.» — lo que el Liber Secundus, cap. VI, *Death* imputa a la época: encerró a Satán mil años y luego se rió de él por cuento de niños.

«You do not know which devils are greater, your vices, or your virtues. But of one thing you are certain, that virtues and vices are brothers.» — la certeza que el Liber Secundus, cap. VI, *Death* deja en pie: virtudes y vicios son hermanos.

«You are not forced to live eternally, but you can also die, since there is a will in you for both.» — la doble voluntad que el Liber Secundus, cap. VI, *Death* reconoce en el hombre, de vida y de muerte.

«Joy at the smallest things comes to you only when you have accepted death. But if you look out greedily for all that you could still live, then nothing is great enough for your pleasure, and the smallest things that continue to surround you are no longer a joy. Therefore I behold death, since it teaches me how to live. If you accept death, it is altogether like a frosty night and an anxious misgiving, but a frosty night in a vineyard full of sweet grapes.» — lo que el Liber Secundus, cap. VI, *Death* pone como condición de la alegría en lo pequeño: haber aceptado la muerte.

«The ancients said: Inter faeces et urinas nascimur.» — el dicho latino que el Liber Secundus, cap. VI, *Death* recoge de los antiguos sobre el nacer.

«But my dear friends, what’s wrong with you? I’m the Hyperborean stranger, who visited you, Oh Ammonius, in the desert.» — Jung se reencuentra en el Liber Secundus, cap. VII, *The Remains of Earlier Temples* con Ammonius y el Rojo, ahora de viaje juntos.

«I fled into solitude and danced all day until I dropped, but in the morning the hellish dance began again.» — lo que el monje cuenta en el Liber Secundus, cap. VII, *The Remains of Earlier Temples* sobre la danza que se apoderó del monasterio y de la ciudad.

«I must add that the monk is hardly the fanatical type, although I’ve developed a deep aversion against the whole Christian religion since my experience in the monastery.» — la aversión al cristianismo que el Rojo declara en el Liber Secundus, cap. VII, *The Remains of Earlier Temples* tras su paso por el monasterio.

«When I had seen death and all the terrible solemnity that is gathered around it, and had become ice and night myself, an angry life and impulse rose up in me. My thirst for the rushing water of the deepest knowledge87 began to clink with wine glasses; from afar I heard drunken laughter, laughing women and street noise. Dance music, 33/34 stamping and cheering poured forth from all over; and instead of the rose-scented south wind, the reek of the human animal streamed over me. Luscious-lewd whores giggled and rustled along the walls, wine fumes and kitchen steam and the foolish cackling of the human crowd drew near in a cloud. Hot sticky tender hands reached out for me, and I was swaddled in the covers of a sickbed. I was born into life from below, and I grew up as heroes do, in hours rather than years. And after I had grown up, I found myself in the middle land, and saw that it was spring. [HI 34] But I was no longer the man I had been, for a strange being grew through me. This was a laughing being of the forest, a leaf green daimon, a forest goblin and prankster, who lived alone in the forest and was itself a greening tree being, who loved nothing but greening and growing, who was neither disposed nor indisposed toward men, full of mood and chance, obeying an invisible law and greening and wilting with the trees, neither beautiful nor ugly, neither good nor bad, merely living, primordially old and yet completely young, naked and yet naturally clothed, not man but nature, frightened, laughable, powerful, childish, weak, deceiving and deceived, utterly inconstant and superficial, and yet reaching deep down, down to the kernel of the world.» — la aparición del daimon verde del bosque en la segunda capa del Liber Secundus, cap. VII, *The Remains of Earlier Temples*, tras el frío de la muerte.

«I had absorbed the life of both of my friends; a green tree grew from the ruins of the temple.» — lo que el Liber Secundus, cap. VII, *The Remains of Earlier Temples* dice del destino del anacoreta y del Rojo: sus vidas absorbidas, un árbol verde sobre las ruinas del templo.

«Ideals are, according to their essence, desired and pondered; they exist to this extent, but only to this extent.» — la definición de ideal que da el Liber Secundus, cap. VII, *The Remains of Earlier Temples*: existe en cuanto deseado y pensado, y solo en esa medida.

«He who believes he is really living his ideals, or believes he can live them, suffers from delusions of grandeur and behaves like a lunatic in that he stages himself as an ideal; but the hero has fallen.» — lo que el Liber Secundus, cap. VII, *The Remains of Earlier Temples* imputa a quien cree vivir sus ideales: delirio de grandeza y puesta en escena de sí mismo.

«If you have become a sacrifice to the ideal, then the ideal cracks open, plays carnival with you, and goes to Hell on Ash Wednesday.» — la imagen carnavalesca con que el Liber Secundus, cap. VII, *The Remains of Earlier Temples* describe el desenlace del sacrificio al ideal.

«And while I struggled with God, the devil prepared himself for my reception, and tore me just as far to his side.» — lo que Jung dice del reparto entre Dios y el diablo en su propia lucha (Liber Secundus, cap. VII, *The Remains of Earlier Temples*).

«but if you become conscious of your self, you fall from one grave into another.» — la advertencia del Liber Secundus, cap. VII, *The Remains of Earlier Temples* sobre la conciencia de sí y las renacencias sucesivas.

«The Buddha therefore finally gave up on rebirth, for he had had enough of crawling through all human and animal forms.» — lo que el Liber Secundus, cap. VII, *The Remains of Earlier Temples* dice del Buda: renunció al renacimiento por hartazgo de arrastrarse por todas las formas.

«I recognized the chameleon and no longer want to crawl on the earth and change colors and be reborn; instead I want to exist from my own force, like the sun which gives light and does not suck light.» — la resolución de Jung en el Liber Secundus, cap. VII, *The Remains of Earlier Temples*: ser como el sol que da luz y no la chupa, en vez de camaleón que cambia de color.

«Neither good nor evil shall be my masters. I push them aside, the laughable survivors, and go on my way again, which leads me to the East. The quarreling powers that for so long stood between me and myself lie behind me. Henceforth I am completely alone. I can no longer say to you: “Listen!” or “you should,” or “you could,” but now I talk only with myself.» — la declaración de soledad con que Jung cierra el Liber Secundus, cap. VII, *The Remains of Earlier Temples*: ni el bien ni el mal por amos, y ya sin dirigirse a nadie.

«Not that I know anything about what my distant goal might be.» — la reserva con que el Liber Secundus, cap. VII, *The Remains of Earlier Temples* acota esa autosuficiencia: no sabe cuál sea su meta lejana.

«I step onto the black side and recoil horrified: it is hot iron. I step onto the white half: it is ice. But so it must be.» — la prueba de las dos mitades, hierro caliente y hielo, en el Liber Secundus, cap. VIII, *First Day*.

«I: “I don’t doubt that your priests speak the truth. It is certainly a truth, only it runs contrary to our truth.” Iz: “Are there then two sorts of truth?” I: “It seems to me to be so. Our truth is that which comes to us from the knowledge of outer things.» — lo que Jung le concede y le opone a Izdubar en el Liber Secundus, cap. VIII, *First Day*: dos verdades, la de los sacerdotes y la que viene del conocimiento de lo exterior.

«There is nothing more mortal than we are.” Iz: “What? You are not even immortal and yet you understand such arts?” I: “Unfortunately our science has still not yet succeeded in finding a method against death.» — lo que Jung declara ante Izdubar en el Liber Secundus, cap. VIII, *First Day* sobre la mortalidad y el límite de la ciencia.

«Iz: “But this science is the awful magic that has lamed me. How can it be that you are still alive even though you drink from this poison every day?” I: “We’ve grown accustomed to this over time, because men get used to everything.» — Izdubar llama magia atroz a la ciencia que lo ha tullido, y Jung responde que uno se acostumbra a todo (Liber Secundus, cap. VIII, *First Day*).

«This poison is so insurmountably strong that everyone, even the strongest, and even the eternal Gods, perish because of it.» — lo que Jung dice del veneno de esa ciencia en el Liber Secundus, cap. VIII, *First Day*: acaba hasta con los dioses eternos.

«Most terrible day of my life—unending—so long—so long— wretched magical art—our priests know nothing, or else they could have protected me from it—even the Gods die, he says.» — el lamento de Izdubar en el Liber Secundus, cap. VIII, *First Day* al oír que hasta los dioses mueren.

«When I thirst and the source does not come to me, I go to the source.» — la regla de autosuficiencia que enuncia el capítulo VII del Liber Secundus.

«If at any time necessity confronts me, I do not look around to see whether there is a helper nearby, but I accept the necessity and bend and writhe and struggle.» — lo que el capítulo VII del Liber Secundus dice de la necesidad: se la acepta sin buscar quien ayude.

«I accept what I do to myself, but I reject what is done to me.» — la distinción con que Jung ordena su lucha en el Liber Secundus, cap. VIII, *First Day*, segunda capa.

«I thought it was without, and so I believed that I could destroy it. But it resides in me and has only assumed a passing outer form and stepped toward me. I destroyed its form and believed that I was a conqueror. But I have not yet overcome myself.» — lo que Jung reconoce en el Liber Secundus, cap. VIII, *First Day*, segunda capa: creyó fuera lo que estaba dentro y aún no se ha superado a sí mismo.

«I cannot reach the blinding power of the sun, just as he, the Powerful One, cannot reach the ever-fruitful womb of darkness.» — la simetría que el Liber Secundus, cap. VIII, *First Day*, segunda capa establece entre lo que a Jung le falta y lo que le falta a Izdubar.

«Power must subside for the sake of life.» — la tesis del Liber Secundus, cap. VIII, *First Day*, segunda capa sobre el poder y la vida.

«The blind shall be lamed, so that he will not run into the abyss, and the lamed shall be blind, so that he will not look at things beyond his reach with longing and contempt.» — el reparto de mutilaciones que el Liber Secundus, cap. VIII, *First Day*, segunda capa propone entre el ciego y el tullido.

«The primordial fire that conquers every necessity shall burn again, since the night of the world is wide and cold, and the need is great. The well-protected fire brings together those from far away and those who are cold, those who do not see one another and cannot reach one another, and it conquers suffering and shatters need.» — la figura del fuego primordial en el Liber Secundus, cap. VIII, *First Day*, segunda capa, que junta a los lejanos y a los que tienen frío.

«You can subjugate yourself, shackle yourself in irons, whip yourself bloody every day: you have crushed yourself, but not overcome yourself.» — el deslinde del Liber Secundus, cap. VIII, *First Day*, segunda capa entre aplastarse y superarse.

«The ancients called the saving word the Logos, an expression of divine reason.» — lo que el Liber Secundus, cap. VIII, *First Day*, segunda capa recoge de los antiguos sobre el Logos como palabra salvadora.

«The divine primordial power is blind, since its face has become human.» — lo que el Liber Secundus, cap. VIII, *First Day*, segunda capa dice de la fuerza primordial divina al hacerse humano su rostro.

«If the God comes near you, then plead for your life to be spared, since the God is loving horror. The ancients said: it is terrible to fall into the hands of the living God.» — la advertencia del Liber Secundus, cap. VIII, *First Day*, segunda capa sobre la cercanía del dios, con el dicho antiguo de que es terrible caer en manos del Dios vivo.

«Only your fearful cry can stop the God. And then you see that the God also trembles, since he stands confronting his face, his observing gaze in you, and he feels unknown power. The God is afraid of man.» — la inversión con que el Liber Secundus, cap. VIII, *First Day*, segunda capa cierra esa advertencia: el dios teme al hombre.

«If my God is lamed, I must stand by him, since I cannot abandon the much-loved.» — el deber que Jung se impone en el Liber Secundus, cap. VIII, *First Day*, segunda capa con el dios que él mismo ha tullido.

«He believed he could simply capture the sun and encountered the worm of the shadows.» — el diagnóstico del Liber Secundus, cap. VIII, *First Day*, segunda capa sobre Izdubar, que creyó poder capturar el sol.

«Consequently I will also not let him go, the Bull God, who once wounded Jacob’s hip and whom I have now lamed.» — lo que Jung declara del Dios Toro en el Liber Secundus, cap. VIII, *First Day*, segunda capa, con la alusión a la cadera de Jacob.

«It is therefore prudent to keep alive the severely afflicted so that his force continues to support me.» — la razón práctica que el Liber Secundus, cap. VIII, *First Day*, segunda capa da para mantener vivo al dios herido.

«And yet again I feel it quite clearly that my life would have broken in half had I failed to heal my God.» — lo que Jung dice que le habría ocurrido de no sanar a su dios (Liber Secundus, cap. VIII, *First Day*, segunda capa).

«No dream gave me the saving word.111 Izdubar lay silent and stiff all night, until daybreak.112 I paced the mountain ridge, pondering, and looked back to my Western lands, where there is so much knowledge and so much possibility of help. I love Izdubar, and I do not want him to wither away miserably.» — el punto muerto con que se abre el Liber Secundus, cap. IX, *Second Day*: ningún sueño trajo la palabra salvadora.

«It is not always necessary to act; sometimes thinking is better. I am basically convinced that Izdubar is hardly real in the ordinary sense, but is a fantasy.» — el giro decisivo del Liber Secundus, cap. IX, *Second Day*: Jung concluye que Izdubar no es real en el sentido corriente, sino fantasía.

«A fantasy cannot be simply negated and treated with resignation either. It calls for action. Anyway, he is a fantasy—and thus considerably more volatile—I think I can see a way forward: I can take him on my back for now.» — la acotación que impide el desenlace fácil en el Liber Secundus, cap. IX, *Second Day*: la fantasía tampoco se niega ni se resigna.

«A way has been found. You have become light, lighter than a feather. Now I can carry you.” I put my arms round him and lift him up from the ground; he is lighter than air, and I struggle to keep my feet on the ground since my load lifts me up into the air. Iz: “That was a masterstroke. Where are you carrying me?” I: “I am going to carry you down into the Western land.» — la solución que el Liber Secundus, cap. IX, *Second Day* encuentra: hecho fantasía, Izdubar pesa menos que una pluma y puede llevarse a cuestas.

«I will never be able to get Izdubar through it. Yet—a fantasy takes up no space!» — la consecuencia práctica que Jung saca en el Liber Secundus, cap. IX, *Second Day*: una fantasía no ocupa espacio.

«But I loved my God, and took him to the house of men, since I was convinced that he also really lived as a fantasy, and should therefore not be left behind, wounded and sick. And hence I experienced the miracle of my body losing its heaviness when I burdened myself with the God.» — lo que la segunda capa del Liber Secundus, cap. IX, *Second Day* declara: cargar al dios aligeró el cuerpo, no lo agravó.

«St. Christopher, the giant, bore his burden with difficulty, despite the fact that he bore only the Christ child.118 But I was as small as a child and bore a giant, and yet my burden lifted me up. The Christ child became an easy burden for the giant Christopher, since Christ himself said, “My yoke is sweet, and my burden is light.”119 We should not bear Christ as he is unbearable, but we should be Christs, for then our yoke is sweet and our burden easy.» — la lectura que el Liber Secundus, cap. IX, *Second Day* hace de san Cristóbal y la vuelta que le da: no hay que llevar a Cristo, hay que ser Cristos.

«This tangible and apparent world is one reality, but fantasy is the other reality.» — la tesis de las dos realidades que sostiene el Liber Secundus, cap. IX, *Second Day*.

«So long as we leave the God outside us apparent and tangible, he is unbearable and hopeless. But if we turn the God into fantasy, he is in us and is easy to bear. The God outside us increases the weight of everything heavy, while the God within us lightens everything heavy.» — la consecuencia de esa tesis en el Liber Secundus, cap. IX, *Second Day*: el dios dejado fuera es insoportable, el vuelto fantasía es llevadero.

«Many have wanted to get help for their sick God and were then devoured by the serpents and dragons lurking on the way to the land of the sun. They perished in the overbright day and have become dark men, since their eyes have been blinded. Now they go around like shadows and speak of the light but see little.» — lo que el Liber Secundus, cap. IX, *Second Day* dice de quienes fueron a buscar ayuda para su dios enfermo y quedaron cegados por el día demasiado claro.

«Therefore, if you are clever, take the God with you, then you know where he is. If you do not have him with you in the Western lands, he will come running to you at night with clanking armor and a crushing battle axe.» — el consejo práctico del Liber Secundus, cap. IX, *Second Day*: llevar consigo al dios para saber dónde está.

«We are wretched without you and our song is worn out. 57/58 [Image 58]129 We are miserable without you and wear out our songs. We spoke all the words that our heart gave us. What else do you want? What else shall we fulfill for you? We open every door for you. We bend our knees where you want us to. We go to all points of the compass according to your wish. We carry up what is below, and we turn what is above into what is below, as you command. We give and take according to your wish. We wanted to turn right, but go left, obedient to your sign.» — el tono de las letanías del Liber Secundus, cap. X, *The Incantations*, donde la voz colectiva se declara sin comprender y sin amar lo que vive.

«I have slain a precious human sacrifice for you, a youth and old man. I have cut my skin with a knife. I have sprinkled your altar with my own blood. I have banished my father and mother so that you can live with me. I have turned my night into day and went about at midday like a sleepwalker. I have overthrown all the Gods, broken the laws, eaten the impure.» — la enumeración de transgresiones con que la voz del Liber Secundus, cap. X, *The Incantations* se presenta ante el dios.

«However, I am not ready, since I have still not accepted that which chokes my heart.» — la reserva con que se cierra el Liber Secundus, cap. X, *The Incantations*: la voz se declara no lista.

«You gain everything from the God whom you bear, but not his weapon, since he crushed it. He who conquers needs weapons. But what else do you want to conquer?» — lo que el Liber Secundus, cap. IX, *Second Day* dice que no se gana del dios cargado: su arma, que él mismo destruyó.

«An inexpressible light breaks from his body, a light that my eyes cannot grasp.» — la resurrección de Izdubar en el Liber Secundus, cap. XI, *The Opening of the Egg*, del que sale una luz que los ojos no captan.

«When I conquered the God, his force streamed into me. But when the God rested in the egg and awaited his beginning, my force went into him. And when he rose up radiantly, I lay on my face. He took my life with him. All my force was now in him. My soul swam like a fish in his sea of fire. But I lay in the frightful cool of the shadows of the earth and sank down deeper and deeper to the lowest darkness. All light had left me. The God rose in the Eastern lands and I fell into the horror of the underworld.» — el precio que el Liber Secundus, cap. XI, *The Opening of the Egg* declara del triunfo: la fuerza del dios entró en Jung, el dios se alzó en Oriente y él cayó al inframundo.

«Woe betide the mother who gives birth to a God! If she gives birth to a wounded and pain-stricken God, a sword will pierce her soul. But if she gives birth to an unblemished God, then Hell will open to her, from which monstrous serpents will rise convulsively to suffocate the mother with miasma.» — la doble desgracia que el Liber Secundus, cap. XI, *The Opening of the Egg* atribuye a quien engendra un dios, sea herido o sin mancha.

«The God suffers when man does not accept his darkness. Consequently men must have a suffering God, so long as they suffer from evil.» — la relación que el Liber Secundus, cap. XI, *The Opening of the Egg* establece entre el mal no aceptado por el hombre y el sufrimiento del dios.

«If his strength combines with fullness, it becomes fully formative. There is always something good about such formation. If his strength combines with emptiness, it has a dissolving and destructive effect, since emptiness can never be formed, but only strives to satisfy itself at the cost of fullness.» — la doctrina de la plenitud y el vacío en el Liber Secundus, cap. XI, *The Opening of the Egg*: la fuerza con plenitud forma, con vacío disuelve.

«You suffer from evil because you love it secretly and are unaware of your love.» — el diagnóstico del Liber Secundus, cap. XI, *The Opening of the Egg* sobre el sufrimiento del mal: hay un amor secreto que no se sabe.

«So long as you persist with the standpoint of the good, you cannot dissolve your formation, precisely because it is what is good.» — la trampa que el Liber Secundus, cap. XI, *The Opening of the Egg* señala en el punto de vista del bien.

«But because of this the good ones will ultimately destroy their own work, and all those whom they forced into the service of their own work will become their enemies, because they will have alienated them.» — lo que el Liber Secundus, cap. XI, *The Opening of the Egg* predice de los buenos: destruirán su propia obra y se enemistarán con quienes forzaron a servirla.

«But we forget that we are then no more than hollow forms, since giving form to God has sapped us completely.» — lo que el Liber Secundus, cap. XI, *The Opening of the Egg* dice del que ha dado forma al dios: queda forma hueca.

«But the right way is that we accept emptiness, destroy the image of the form within us, negate the God, and descend into the abyss and awfulness of matter.» — la vía que el Liber Secundus, cap. XI, *The Opening of the Egg* llama recta: aceptar el vacío, destruir la imagen, negar al dios y bajar al abismo de la materia.

«The way does not lead between both, but embraces both.» — la corrección que el Liber Secundus, cap. XI, *The Opening of the Egg* hace a la idea de vía media.

«Because I wanted to give birth to my God, I also wanted evil. He who wants to create an eternal fullness will also create eternal emptiness.144 You cannot undertake one without the other. But if you want to escape evil, you will create no God, everything that you do is tepid and gray.» — el nexo que el Liber Secundus, cap. XII, *Hell* establece entre querer parir al propio dios y querer el mal.

«Nothing is more valuable to the evil one than his eye, since only through his eye can emptiness seize gleaming fullness. Because the emptiness lacks fullness, it craves fullness and its shining power. And it drinks it in by means of its eye, which is able to grasp the beauty and unsullied radiance of fullness. The emptiness is poor, and if it lacked its eye it would be hopeless. It sees the most beautiful and wants to devour it in order to spoil it. The devil knows what is beautiful, and hence he is the shadow of beauty and follows it everywhere, awaiting the moment when the beautiful, writhing great with child, seeks to give life to the God. If your beauty grows, the dreadful worm will also creep up you, waiting for its prey. Nothing is sacred to him except his eye, with which he sees the most beautiful. He will never give up his eye.» — la función del ojo del maligno en el Liber Secundus, cap. XII, *Hell*: solo por él puede el vacío apoderarse de la plenitud.

«I recognize the fearful devilishness of human nature. I cover my eyes before it. I put out my hand to fend it off, if anyone wants to approach me for fear that my shadow could fall on him, or his shadow could fall on me, since I also see the devilish in him, who is the harmless companion of his shadow. No one touches me, death and crime lie in wait for you and me. You smile innocently, my friend? Don’t you see that a gentle flickering of your eye betrays the frightfulness whose unsuspecting messenger you are? Your bloodthirsty tiger growls softly, your poisonous serpent hisses secretly, while you, conscious only of your goodness, offer your human hand to me in greeting. I know your shadow and mine, that follows and comes with us, and only waits for the hour of twilight when he will strangle you and me with all the daimons of the night. What abyss of blood-dripping history separates you from me! I grasped your hand and looked at you. I lay my head in your lap and felt the living warmth of your body on mine as if it were my own body —and suddenly I felt a smooth cord around my neck, which choked me mercilessly, and a cruel hammer blow struck a nail into my temple. I was dragged by my feet along the pavement, and wild hounds gnawed my body in the lonely night. No one should be astonished that men are so far removed from one another that they cannot understand one another, that they wage war and kill one another.» — lo que el Liber Secundus, cap. XII, *Hell* saca de esa visión sobre la guerra y la incomprensión entre los hombres.

«He who does not want evil will have no chance to save his soul from Hell. So long as he remains in the light of the upper world, he will become a shadow of himself. But his soul will languish in the dungeons of the daimons.» — la advertencia del Liber Secundus, cap. XII, *Hell* a quien rehúse el mal.

«You should not lament this, otherwise you will become a prophet, and will seek to redeem what cannot be redeemed. Do you not know that nature also dungs its fields with men? Take in the seeker, but do not go out seeking those who err. What do you know about their error? Perhaps it is sacred. You should not disturb the sacred. Do not look back and regret nothing.» — la prohibición del Liber Secundus, cap. XII, *Hell* de lamentarse, so pena de volverse profeta y querer redimir lo irredimible.

«You cannot dissolve good with good.» — la tesis del capítulo XI del Liber Secundus sobre el límite del bien.

«You are entirely unable to live without evil.» — la formulación más desnuda de esa tesis en el capítulo XI del Liber Secundus.

«But I can sacrifice my will to evil, because I previously received fullness.» — la condición del sacrificio en el capítulo XII, *Hell*: se puede sacrificar la voluntad al mal por haber recibido antes plenitud.

«There is nothing the emptiness can sacrifice, since it always suffers lack. Only fullness can sacrifice, since it has fullness.» — el corolario del capítulo XII del Liber Secundus: solo la plenitud puede sacrificar, el vacío nunca.

«But this was the vision that I did not want to see, the horror that I did not want to live:» — la advertencia con que se abre el Liber Secundus, cap. XIII, *The Sacrificial Murder*, la visión que Jung dice no haber querido ver.

«The sacrifice has been accomplished: the divine child, the image of the God’s formation, is slain, and I have eaten from the sacrificial flesh.» — la segunda capa del Liber Secundus, cap. XIII, *The Sacrificial Murder* nombra lo sucedido: sacrificada la imagen de la formación del dios, se ha comido de la carne del sacrificio.

«Man cannot accomplish this act solely by himself, but is assisted by evil, which does it instead of man.» — la función que el Liber Secundus, cap. XIII, *The Sacrificial Murder* da al mal en el sacrificio: obra en lugar del hombre, que no puede solo.

«Through this act he testifies that he is a man, that he recognizes good as well as evil, and that he destroys the image of the God’s formation through withdrawing his life force, with which he also dissociates himself from the God.» — lo que el Liber Secundus, cap. XIII, *The Sacrificial Murder* declara probado por ese acto: que quien lo hace es hombre y reconoce el bien y el mal.

«This occurs for the salvation of the soul, which is the true mother of the divine child.» — la finalidad que el Liber Secundus, cap. XIII, *The Sacrificial Murder* asigna al sacrificio: la salvación del alma, verdadera madre del niño divino.

«The ancients have also indicated this to us, in that they taught us to drink the blood and eat the flesh of the savior.» — el precedente que el Liber Secundus, cap. XIII, *The Sacrificial Murder* invoca: beber la sangre y comer la carne del salvador.

«There are not many truths, there are only a few. Their meaning is too deep to grasp other than in symbols.» — la razón que el Liber Secundus, cap. XIII, *The Sacrificial Murder* da del símbolo: las pocas verdades que hay tienen sentido demasiado hondo para captarse de otro modo.

«But I’m ashamed of my God. I don’t want to be divine but reasonable. The divine appears to me as irrational craziness. I hate it as an absurd disturbance of my meaningful human activity. It seems an unbecoming sickness which has stolen into the regular course of my life. Yes, I even find the divine superfluous.» — la resistencia que Jung se reconoce en el Liber Secundus, cap. XIII, *The Sacrificial Murder*: vergüenza de su dios y preferencia por lo razonable.

«a book like Thomas’s means very much to me since it is written from the soul.» — lo que Jung le dice al bibliotecario en el Liber Secundus, cap. XIV, *Divine Folly* sobre la *Imitación* de Tomás de Kempis, leída para orar y no por interés erudito.

«I consider the lack of a true and proper sense of actuality in religion a disadvantage. Incidentally, a host of substitutes now exists for the loss of opportunity for prayer caused by the collapse of religion. Nietzsche, for example, has written a more than veritable book of prayer,161 not to mention Faust.” “I suppose that’s correct in a certain sense. But especially Nietzsche’s truth strikes me as too agitated and provocative—; it’s good for those who are yet to be set free. For that reason his truth is good only for them. I believe that I’ve recently discovered that we also need a truth for those who are forced» — lo que Jung echa en falta en el Liber Secundus, cap. XIV, *Divine Folly*: sentido de la actualidad en la religión, y una verdad para los forzados.

«Perhaps from your standpoint you’re right, but I can’t help feeling that Nietzsche speaks to those who need more freedom, not to those who clash strongly with life, who bleed from wounds, and who hold fast to actualities.» — la objeción de Jung a Nietzsche en el Liber Secundus, cap. XIV, *Divine Folly*: habla a quien necesita más libertad, no a quien sangra por sus heridas.

«I can’t dispute that, but I know men who need inferiority, not superiority.” “You express yourself very paradoxically. I don’t understand you. Inferiority can hardly be a desideratum.” “Perhaps you’ll understand me better if instead of inferiority I say resignation, a word that one used to hear a lot of, but seldom anymore.» — lo que Jung propone en el Liber Secundus, cap. XIV, *Divine Folly* en lugar de la superioridad: inferioridad, o mejor, resignación.

«It is better to be thrown into visible chains than into invisible ones.» — la sentencia del Liber Secundus, cap. XIV, *Divine Folly* sobre las cadenas.

«You can certainly leave Christianity but it does not leave you. Your liberation from it is delusion. Christ is the way. You can certainly run away, but then you are no longer on the way.» — lo que el Liber Secundus, cap. XIV, *Divine Folly* dice del cristianismo: se puede salir de él y él no sale de uno.

«If I imitate Christ, he is always ahead of me and I can never reach the goal, unless I reach it in him. 99/100 But thus I move beyond myself and beyond time, in and through which I am as I am.» — la objeción del Liber Secundus, cap. XIV, *Divine Folly* a la imitación de Cristo: siempre va delante y la meta queda inalcanzable.

«But if I am truly to understand Christ, I must realize how Christ actually lived only his own life, and imitated no one. He did not emulate any model.164 If I thus truly imitate Christ, I do not imitate anyone, I emulate no one, but go my own way, and I will also no longer call myself a Christian.» — la vuelta que el Liber Secundus, cap. XIV, *Divine Folly* le da a la imitación: Cristo vivió su propia vida sin imitar a nadie, así que imitarlo de veras es no imitar y dejar de llamarse cristiano.

«If I ascend to the highest and most difficult on the one hand, and seek to eke out redemption that reaches even higher, then the true way does not lead upward, but toward the depths, since only my other leads me beyond myself.» — la dirección que el Liber Secundus, cap. XIV, *Divine Folly* da a la vía verdadera: no hacia arriba sino hacia las profundidades.

«No line emerges, no law appears; instead everything is thoroughly and convincingly accidental, as a matter of fact even terribly accidental. But one thing becomes dreadfully clear, namely that contrary to my earlier way and all its insights and intentions, henceforth all is error. It becomes ever more apparent that nothing leads, as my hope sought to persuade me, but that everything misleads.» — lo que Jung encuentra al descender en el Liber Secundus, cap. XV, *Nox secunda*: nada guía, todo desorienta, y todo es accidental.

«If you break through this most everyday of walls, the overwhelming stream of chaos will flood in.» — la imagen del muro cotidiano tras el que espera el caos, en el Liber Secundus, cap. XV, *Nox secunda*.

«These figures are the dead, not just your dead, that is, all the images of the shapes you took in the past, which your ongoing life has left behind, but also the thronging dead of human history, the ghostly procession of the past, which is an ocean compared to the drops of your own life span.» — la definición de los muertos en el Liber Secundus, cap. XV, *Nox secunda*: no solo los propios, también la turba de la historia humana.

«He besieges you in sleepless nights, sometimes he takes hold of you in an illness, sometimes he crosses your intentions. He makes you overbearing and greedy, he pricks your longing for everything, which avails you nothing, he devours your success in discord. He accompanies you as your evil spirit, to whom you can grant no release. Have you heard of those dark ones who roamed incognito alongside those who ruled the day, conspiratorially causing unrest? Who devised cunning things and did not shrink from any crime to honor their God? Beside them place Christ, who was the greatest among them. It was too little for him to break the world, so he broke himself.» — lo que el Liber Secundus, cap. XV, *Nox secunda* dice de la figura que asedia en las noches sin sueño y acabó rompiéndose a sí misma.

«He who never lives his animal must treat his brother like an animal.» — la regla del Liber Secundus, cap. XV, *Nox secunda* sobre el animal no vivido.

«And do not turn anything you do into a law, since that is the hubris of power.» — la prohibición del Liber Secundus, cap. XV, *Nox secunda* de convertir lo propio en ley.

«Hence withdraw and enter solitude, since no one can give you counsel if you wrestle with the dead.» — la instrucción del Liber Secundus, cap. XV, *Nox secunda* para la lucha con los muertos: soledad, y no pedir auxilio.

«For whoever well-meaningly tears you away from the dead has rendered you the worst service, since he has torn your life branch from the tree of divinity.» — lo que el Liber Secundus, cap. XV, *Nox secunda* dice de quien, con buena intención, aparta a otro de sus muertos.

«However, just as Christ brought back human sacrifice and the eating of the sacrificed, all this happened to him and not to his brother, since Christ placed above it the highest law of love, so that no brother would come to harm as a result, but so that all could rejoice in the restoration.» — lo que el Liber Secundus, cap. XV, *Nox secunda* adjudica a Cristo: restituyó el sacrificio humano poniendo encima la ley del amor.

«But anyone who makes destruction their goal will perish through self-destruction.» — la advertencia del Liber Secundus, cap. XV, *Nox secunda* a quien haga meta de la destrucción.

«Therefore you should have reverence for what has become, so that the law of love may become redemption through the restoration of the lower and of the past, not perdition through the boundless mastery of the dead.» — la exigencia de reverencia por lo devenido en el Liber Secundus, cap. XV, *Nox secunda*, para que la ley del amor redima en vez de perder.

«We are a blinded race. We live only on the surface, only in the present, and think only of tomorrow.» — el diagnóstico del Liber Secundus, cap. XV, *Nox secunda* sobre la propia época: vive en la superficie y en el presente.

«He who cannot attain his own visible field and vineyard is held fast by the dead, who demand the work of atonement from him.» — la exigencia de los muertos según el Liber Secundus, cap. XV, *Nox secunda*: obra de expiación antes que la obra visible.

«Do not look forward so much, but back and into yourself, so that you will not fail to hear the dead.» — la instrucción del Liber Secundus, cap. XV, *Nox secunda* de mirar atrás y adentro para oír a los muertos.

«You seem to believe that you can absolve yourself from the care of the dead, and from the work that they so greatly demand, since what is dead is past. You excuse yourself with your disbelief in the immortality of the soul. Do you think that the dead do not exist because you have devised the impossibility of immortality? You believe in your idols of words. The dead produce effects, that is sufficient.» — la objeción del Liber Secundus, cap. XV, *Nox secunda* a quien crea absuelto del cuidado de los muertos porque son pasado: producen efectos, y con eso basta.

«Madness is not to be despised and not to be feared, but instead you should give it life.» — la instrucción del Liber Secundus, cap. XVI, *Nox tertia* sobre la locura, que ni se desprecia ni se teme.

«The fool: “The devil. We are in Hell. But of course, you haven’t noticed it yet. I didn’t realize until the second year of my time here that the director is the devil.”» — el loco con quien Jung comparte celda en el Liber Secundus, cap. XVI, *Nox tertia* declara que el director del manicomio es el diablo.

«The fool: “You’re an ignoramus. I was supposed to marry the mother of God long ago.192 But the professor, that devil, has her in his power. Every evening when the sun goes down he gets her with child. In the morning before sunrise she gives birth to it.» — la cosmología del loco en el Liber Secundus, cap. XVI, *Nox tertia*, con la madre de Dios preñada cada tarde por el profesor.

«A horizontal line runs along the wall, which is painted a darker color beneath. A radiator stands in front of it—it is a railing and I can see the sea beyond it. The line is the horizon.» — lo que el loco lee en la pared del manicomio en el Liber Secundus, cap. XVI, *Nox tertia*, y que Jung transcribe sin corregir.

«If you accept the lowest in you, suffering is unavoidable, since you do the base thing and build up what lay in ruin. There are many graves and corpses in us, an evil stench of decomposition.203 Just as Christ through the torment of sanctification subjugated the flesh, so the God of this time through the torment of sanctification will subjugate the spirit. Just as Christ tormented the flesh through the spirit, the God of this time will torment the spirit through the flesh. For our spirit has become an impertinent whore, a slave to words created by men and no longer the divine word itself.204 The lowest in you is the source of mercy. We take this sickness upon ourselves, the inability to find peace, the baseness, and the contemptibility so that the God can be healed and radiantly ascend, purged of the decomposition of death and the mud of the underworld. The despicable prisoner will ascend to his salvation shining and wholly healed.205 Is there a suffering that would be too great to want to undergo for our God? You only see the one, and do not notice the other. But when there is one, so there is also another and that is the lowest in you. But the lowest in you is also the eye of the evil that stares at you and looks at you coldly and sucks your light down into the dark abyss.» — lo que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa anuncia a quien acepte lo más bajo de sí: sufrimiento inevitable y el ojo del mal.

«Just as Christ was crucified between the two thieves, our lowest lies on either side of our way.» — la figura del Liber Secundus, cap. XVI, *Nox tertia*, segunda capa para lo más bajo: los dos ladrones a ambos lados del camino.

«If I accept the lowest in me, I lower a seed into the ground of Hell.» — la imagen de la semilla en el suelo del infierno, en el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa.

«We thus fear our lowest, since that which one does not possess is forever united with the chaos and takes part in its mysterious ebb and flow.» — la razón que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa da del miedo a lo más bajo de uno.

«But he who accepts what approaches him because it is also in him, quarrels and wrangles no more, but looks into himself and keeps silent.» — la conducta que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa atribuye a quien acepta lo que le viene por estar también en él.

«Your life needs the dark. But if you know that it is evil, you can no longer accept it and you suffer anguish and you do not know why. Nor can you accept it as evil, else your good will reject you.» — el callejón que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa describe: la vida necesita lo oscuro, y no puede aceptarse ni como bueno ni como malo.

«But if you return to primal chaos and if you feel and recognize that which hangs stretched between the two unbearable poles of fire, you will notice that you can no longer separate good and evil conclusively, neither through feeling nor through knowledge, but that you can discern the direction of growth only from below to above.» — lo que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa sitúa más allá de la distinción entre bien y mal: el crecimiento del árbol de abajo arriba.

«But as soon as growth stops, what was united in growth falls apart and once more you recognize good and evil.» — la acotación con que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa devuelve la distinción: al cesar el crecimiento, el bien y el mal se reconocen otra vez.

«You can never deny your knowledge of good and evil to yourself, so that you could betray your good in order to live evil.» — el límite que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa pone: no se puede negar el propio conocimiento del bien y del mal.

«He who cannot bear doubt does not bear himself. Such a one is doubtful; he does not grow and hence he does not live. Doubt is the sign of the strongest and the weakest. The strong have doubt, but doubt has the weak. Therefore the weakest is close to the strongest, and if he can say to his doubt: “I have you,” then he is the strongest.214 But no one can say yes to his doubt, unless he endures wide-open chaos.» — la doctrina de la duda del Liber Secundus, cap. XVI, *Nox tertia*, segunda capa: quien pueda decirle a la suya que la tiene es el más fuerte, y para eso hay que soportar el caos abierto.

«Because there are so many among us who can talk about anything, pay heed to what they live.» — el criterio que el Liber Secundus, cap. XVI, *Nox tertia*, segunda capa propone frente a los que hablan de todo: mirar lo que viven.

«If you are in one, your certainty about the one excludes the other. But how can you then reach the other? And why can the one not be enough for us? One cannot be enough for us since the other is in us. And if we were content with one, the other would suffer great need and afflict us with its hunger. But we misunderstand this hunger and still believe that we are hungry for the one and strive for it even more adamantly. Through this we cause the other in us to assert its demands on us even more strongly. If we are then ready to recognize the claim of the other in us, we can cross over into the other to satisfy it. But we can thus reach across, since the other has become conscious to us. Yet if our blinding through the one is strong, we become even more distant from the other, and a disastrous chasm between the one and the other opens up in us.» — lo que el Liber Secundus, cap. XVII, *Nox quarta* describe del quedarse en uno de los dos: la certeza excluye al otro y abre un abismo.

«If others mock me, it is nevertheless them doing this, and I can attribute guilt to them for this, and forget to mock myself. But he who cannot mock himself will be mocked by others.» — la economía de la burla en el Liber Secundus, cap. XVII, *Nox quarta*: quien no puede burlarse de sí será burlado.

«He who has the luck and misfortune of a particular talent falls prey to believing that he is this gift. Hence he is also often its fool. A special gift is something outside of me. I am not the same as it. The nature of the gift has nothing to do with the nature of the man who carries it. It often even lives at the expense of the bearer’s character. His character is marked by the disadvantage of his gift, indeed even through its opposite. Consequently he is never at the height of his gift but always beneath it. If he accepts his other he becomes capable of bearing his gift without disadvantage.» — la trampa del talento en el Liber Secundus, cap. XVII, *Nox quarta*: creerse el don, y el remedio, aceptar lo otro de uno.

«If you have reached that freedom through the suffering of your spirit to accept the other despite your highest belief in the one, since you are it too, then your growth begins.» — la condición del crecimiento en el Liber Secundus, cap. XVII, *Nox quarta*: aceptar lo otro pese a la creencia más alta en lo uno.

«Since Christ imposed bloody sacrifice on humanity, the renewed God will also not spare bloodshed.» — lo que la segunda capa del capítulo XVI del Liber Secundus anuncia del dios renovado, por analogía con el sacrificio cristiano.

«But since I can be in the yes today and in the no tomorrow, yes and no are both true and untrue.» — la lógica del sí y del no en el capítulo XVII del Liber Secundus: como se puede estar hoy en uno y mañana en otro, ninguno es del todo verdadero.

«It is the son of the earth, the dark one whom you should awaken.224 It is man and woman at the same time and immature sex, rich in interpretation and misinterpretation, so poor in meaning and yet so rich.» — la descripción del hijo de la tierra en el Liber Secundus, cap. XVII, *Nox quarta*, segunda capa: hombre y mujer a la vez, sexo inmaduro, pobre y rico en sentido.

«It desired neither blood nor milk nor wine for the sacrifice of the dead, but the willingness of our flesh.» — lo que el Liber Secundus, cap. XVII, *Nox quarta*, segunda capa dice que esa figura pide en sacrificio: la disposición de la carne, no sangre ni leche ni vino.

«It is bad to have to say this, but perhaps I hear badly, or perhaps I misunderstand what the depths say.» — la reserva con que el Liber Secundus, cap. XVII, *Nox quarta*, segunda capa acota lo que acaba de decir: quizá oiga mal o entienda mal a las profundidades.

«I am he, the nameless one, who does not know himself and whose name is concealed even from himself. I have no name, since I have not yet existed, but have only just become.» — la voz sin nombre que habla al final del Liber Secundus, cap. XVII, *Nox quarta*, segunda capa, cuyo nombre le está oculto a ella misma.

«Religion is still to come, but it will become evident.» — lo que el Liber Secundus, cap. XVIII, *The Three Prophecies* dice de la religión venidera.

«I cannot give it to you, and I can speak only of the way of what is to come. Little good will come to you from outside.» — el límite que el Liber Secundus, cap. XVIII, *The Three Prophecies* pone a lo que Jung puede dar al lector.

«The future should be left to those of the future. I return to the small and the real, for this is the great way, the way of what is to come. I return to my simple reality, to my undeniable and most minuscule being. And I take a knife and hold court over everything that has grown without measure and goal. Forests have grown around me, winding plants have climbed up me, and I am completely covered by endless proliferation. The depths are inexhaustible, they give everything. Everything is as good as nothing. Keep a little and you have something. To recognize and know your ambition and your greed, to gather 124/126 [Image 125]237 125/126 your craving, to cultivate it, grasp it, make it serviceable, influence it, master it, order it, to give it interpretations and meanings, is extravagant. It is lunacy, like everything that transcends its boundaries.» — la prescripción del Liber Secundus, cap. XVIII, *The Three Prophecies* sobre el porvenir, y lo que llama locura.

«I want to be poor and bare, and I want to stand naked before the inexorable. I want to be my body and its poverty. I want to be from the earth and live its law. I want to be my human animal and accept all its frights and desires.» — el programa de pobreza y encarnación del Liber Secundus, cap. XVIII, *The Three Prophecies*: ser el cuerpo, la tierra y el animal humano propio.

«Thus I discard everything that was laden with meaning, everything divine and devilish with which chaos burdened me.» — lo que el Liber Secundus, cap. XVIII, *The Three Prophecies* declara descartar: todo lo cargado de sentido, divino y diabólico.

«Truly, it is not up to me to prove the Gods and the devils and the chaotic monsters, to feed them carefully, to warily drag them with me, to count and name them, and to protect them with belief against disbelief and doubt.» — lo que el Liber Secundus, cap. XVIII, *The Three Prophecies* se niega a hacer: probar a los dioses y a los demonios y defenderlos de la duda.

«A free man knows only free Gods and devils that are selfcontained and take effect on account of their own force. If they fail to have an effect, that is their own business, and I can remove this burden from myself. But if they are effective, they need neither my protection nor my care, nor my belief.» — la doctrina del Liber Secundus, cap. XVIII, *The Three Prophecies* sobre los dioses del hombre libre: obran por su propia fuerza y no necesitan creencia. El troceo une el guion de corte de fin de renglón y el verbatim sale *selfcontained* donde el volumen imprime *self-contained*.

«But if they do, be clever, for the tiger is stronger than you. You should be able to cast everything from you, otherwise you are a slave, even if you are the slave of a God.» — la advertencia práctica del Liber Secundus, cap. XVIII, *The Three Prophecies*: hay que poder desprenderse de todo, so pena de ser esclavo aunque sea de un dios.

«S: “You don’t know magic. So don’t judge. What are you bristling at?”» — el alma le prohíbe a Jung juzgar la magia en el Liber Secundus, cap. XIX, *The Gift of Magic*.

«You can call it neither clever nor stupid, neither good nor evil,» — lo que el Liber Secundus, cap. XVII, *Nox quarta*, segunda capa dice del hijo de la tierra, que no admite ninguna de las categorías humanas; la frase se corta en el cambio de plana del troceo.

«Beware of knowing what lies beyond yourself, or else your presumed knowledge will suffocate the life of those who know themselves. A knower may know himself. That is» — el límite del conocimiento en el Liber Secundus, cap. XVIII, *The Three Prophecies*: el saber que excede a uno mismo sofoca la vida de quien sí se conoce.

«Magic is the working of men on men, but your magic action does not affect your neighbor; it affects you first, and only if you withstand it does an invisible effect pass from you to your neighbor.» — la definición de magia que da el Liber Secundus, cap. XIX, *The Gift of Magic*: obra primero sobre uno, y solo si uno la resiste pasa al prójimo.

«Therefore I took old magical apparatuses and prepared hot potions and mixed in secrets and ancient powers, things that even the cleverest would not guess at.» — lo que el solitario declara haber preparado en el Liber Secundus, cap. XIX, *The Gift of Magic* con aparatos mágicos y poderes antiguos.

«He is far from men and yet the threads of their fate pass through his hands.» — la posición del solitario en el Liber Secundus, cap. XIX, *The Gift of Magic*: lejos de los hombres y con los hilos de su destino en la mano.

«But the white bird that sat on my shoulder spoke to me:252 “Let it rain, let the wind blow, let the waters flow and the fire burn. Let each thing have its development, let becoming have its day.» — lo que el pájaro blanco, otra de las figuras que hablan, le dice a Jung en el Liber Secundus, cap. XIX, *The Gift of Magic*.

«It is unclear how great one’s humility must be to take it upon oneself to live one’s own life.» — la medida imposible que enuncia el Liber Secundus, cap. XX, *The Way of the Cross*: cuánta humildad hace falta para vivir la propia vida.

«The disgust of whoever wants to enter into his own life can hardly be measured. Aversion will sicken him. He makes himself vomit. His bowels pain him and his brain sinks into lassitude. He would rather devise any trick to help him escape, since nothing matches the torment of one’s own way.» — lo que el Liber Secundus, cap. XX, *The Way of the Cross* dice del asco y del tormento del camino propio.

«No one rises above himself who has not turned his most dangerous weapon against himself.» — la condición que el Liber Secundus, cap. XX, *The Way of the Cross* pone para elevarse sobre uno mismo.

«You ought to be able to live with yourself, but not at your neighbor’s expense.» — el límite social que el Liber Secundus, cap. XX, *The Way of the Cross* impone al trabajo sobre sí.

«But if you flee from your fire full of fear, you scorch your fellow men, and the burning torment of your greed cannot die out, so long as you do not desire yourself.» — lo que el Liber Secundus, cap. XX, *The Way of the Cross* atribuye a la huida del propio fuego: se abrasa al prójimo.

«One can certainly gain outer freedom through powerful actions, but one creates inner freedom only through the symbol.» — el deslinde del Liber Secundus, cap. XX, *The Way of the Cross* entre libertad exterior e interior, y el papel que da al símbolo.

«The symbol can be neither thought up nor found: it becomes. Its becoming is like the becoming of human life in the womb. Pregnancy comes about through voluntary copulation. It goes on through willing attention. But if the depths have conceived, then the symbol grows out of itself and is born from the mind, as befits a God.» — lo que el Liber Secundus, cap. XX, *The Way of the Cross* dice del símbolo: no se inventa ni se halla, deviene y nace de las profundidades.

«Outer laws and outer wisdom are eternally insufficient, since there is only one law and one wisdom, namely my daily law, my daily wisdom.» — la única ley que el Liber Secundus, cap. XX, *The Way of the Cross* reconoce.

«The God appears in multiple guises; for when he emerges, he has assumed some of the character of the night and the nightly waters in which he slumbered, and in which he struggled for renewal in the last hour of the night.» — lo que el Liber Secundus, cap. XX, *The Way of the Cross* dice de las apariencias múltiples del dios, teñidas de la noche en que durmió.

«Yet the God wants neither the one nor the other. He wants the middle way.» — lo que el Liber Secundus, cap. XX, *The Way of the Cross* atribuye a la voluntad del dios: la vía media.

«Man, however, can never see this beginning; he always sees only one and not the other, or the other and not the one, but never that which the one as well as the other encloses in itself.» — el límite de la visión humana según el Liber Secundus, cap. XX, *The Way of the Cross*: nunca lo que encierra a la vez lo uno y lo otro.

«The soul of humanity is like the great wheel of the zodiac that rolls along the way.» — la figura zodiacal del alma de la humanidad en el Liber Secundus, cap. XX, *The Way of the Cross*.

«People tell me that you understand the black art.» — la petición con que Jung aborda al mago ΦΙΛΗΜΩΝ al abrirse el Liber Secundus, cap. XXI, *The Magician*.

«It would be better if everything were buried with me. It can always be rediscovered later. It will never be lost to humanity, since magic is reborn with each and every one of us.» — lo que el mago responde sobre su saber: valdría más que se enterrara con él, porque la magia renace con cada uno (Liber Secundus, cap. XXI, *The Magician*).

«It seems that way to you because you judge everything from the standpoint of your intellect. If you forsake reason for a while, you will also give up consistency.» — lo que el mago le imputa a Jung en el Liber Secundus, cap. XXI, *The Magician*: juzgarlo todo desde el intelecto, y lo que exige a cambio, renunciar por un rato a la razón.

«That is the third point that you must note as essential: namely, that there is nothing for you to understand.” I: “Well, I must confess that that is new and strange. So nothing at all about magic can be understood?” Φ: “Exactly. Magic happens to be precisely everything that eludes comprehension.» — la definición negativa de la magia en el Liber Secundus, cap. XXI, *The Magician*: no hay nada que entender, es justamente lo que escapa a la comprensión.

«Magic is neither to be taught nor learned. It’s foolish that you want to learn magic.” I: “But then magic is nothing but deception.” Φ: “Watch out—you have started reasoning again.” I: “It’s difficult to exist without reason.” Φ: “And that is exactly how difficult magic is.» — lo que el mago dice de la enseñanza de la magia en el Liber Secundus, cap. XXI, *The Magician*.

«Reason declines with old age, since it is an essential counterpart of the drives, which are much more intense in youth than in old age. Have you ever seen young magicians?” I: “No, the magician is proverbially old.” Φ: “You see, I’m right.” I: “But then the prospects of the adept are bad. He must wait until old age to experience the mysteries of magic.” Φ: “If he gives up his reason before then, he can already experience something useful sooner.» — el argumento del mago sobre la edad y la razón en el Liber Secundus, cap. XXI, *The Magician*.

«But stupidity would perhaps be progress on the way to magic.» — la concesión irónica que Jung hace en el Liber Secundus, cap. XXI, *The Magician*.

«It is an error to believe that there are magical practices that one can learn.» — lo que la segunda capa del Liber Secundus, cap. XXI, *The Magician* niega: que haya prácticas mágicas aprendibles.

«One cannot understand magic. One can only understand what accords with reason. Magic accords with unreason, which one cannot understand. The world accords not only with reason but also with unreason. But just as one employs reason to make sense of the world, in that what is reasonable about it approaches reason, a lack of understanding also accords with unreason. 142/143 This meeting is magical and eludes comprehension. Magical understanding is what one calls noncomprehension. Everything that works magically is incomprehensible, and the incomprehensible often works magically. One calls incomprehensible workings magical. The magical always surrounds me, always involves me. It opens spaces that have no doors and leads out into the open where there is no exit. The magical is good and evil and neither good nor evil. Magic is dangerous since what accords with unreason confuses, allures and provokes; and I am always its first victim.» — lo que el Liber Secundus, cap. XXI, *The Magician* dice del peligro de la magia: confunde y seduce, y el primero en caer es quien la practica.

«We must value the incomprehensible and unreasonable equally, although they are not necessarily equal» — el deslinde que el Liber Secundus, cap. XXI, *The Magician* propone, y no cierra, entre lo incomprensible y lo irracional.

«One can only remain silent about this, which seems to be the best apprenticeship.» — lo que el Liber Secundus, cap. XXI, *The Magician* propone como mejor aprendizaje de la magia: callar.

«One cannot say what the effect of magic will be, since no one can know it in advance because the magical is the lawless, which occurs without rules and by chance, so to speak.» — la razón que el Liber Secundus, cap. XXI, *The Magician* da para no poder predecir el efecto de la magia: es lo sin ley.

«Because we know that too far into the good means the same as too far into evil, we keep them both together.» — la razón que el Liber Secundus, cap. XXI, *The Magician* da para mantener juntos el bien y el mal.

«Thus I saw that the lover survives, and that he is the one who unwittingly grants hospitality to the Gods.» — lo que Jung reconoce en ΦΙΛΗΜΩΝ al final del Liber Secundus, cap. XXI, *The Magician*: el amante sobrevive y hospeda a los dioses sin saberlo.

«You have succeeded in uniting what has been sundered, that is, binding together the Above and Below.» — lo que Jung le atribuye a ΦΙΛΗΜΩΝ en el Liber Secundus, cap. XXI, *The Magician*: unir lo de arriba y lo de abajo.

«You are no Christian and no pagan, but a hospitable inhospitable one, a host of the Gods, a survivor, an eternal one, the father of all eternal wisdom.» — la definición de ΦΙΛΗΜΩΝ en el Liber Secundus, cap. XXI, *The Magician*, ni cristiano ni pagano, hospedador de los dioses.

«You are wise, Oh ΦΙΛΗΜΩΝ, you do not give. You want your garden to bloom, and for everything to grow from within itself.» — lo que Jung alaba en ΦΙΛΗΜΩΝ en el Liber Secundus, cap. XXI, *The Magician*: no da, y quiere que todo crezca desde dentro de sí.

«But I spoke to her smilingly: “The sinuous line of life could not escape me in the long run.”» — lo que Jung le dice a la serpiente que quiso morderlo en el Liber Secundus, cap. XXI, *The Magician*.

«You find all this between men but not between men and serpents, even if they are serpent souls. But wherever there is love, the serpentlike abides also. Christ himself compared himself to a serpent,294 and his hellish brother, the Antichrist, is the old dragon himself.295 What is beyond the human that appears in love has the nature of the serpent and the bird, and the serpent often enchants the bird, and more rarely the bird bears off the serpent. Man stands in-between. What seems like a bird to you is a serpent to the other, and what seems like a serpent to you is a bird to the other. Therefore you will meet the other only in human form.» — lo que el Liber Secundus, cap. XXI, *The Magician* enuncia sobre el encuentro con lo otro: solo se da en forma humana, no entre hombre y serpiente.

«If men want to become, they behave like animals. No one saves us from the evil of becoming, unless we choose to go through Hell.» — lo que el Liber Secundus, cap. XXI, *The Magician* dice del devenir y del paso por el infierno.

«This knowledge gave my soul a new face, and I decided henceforth to enchant her myself and subject her to my power. Serpents are wise, and I wanted my serpent soul to communicate her wisdom to me.» — la resolución de Jung en el Liber Secundus, cap. XXI, *The Magician*: encantar él mismo a su alma serpiente y hacerse comunicar su sabiduría.

«S: “Your seriousness leads us to suffer. The ordering of the beyond is shaken to its foundations.”» — lo que la serpiente le reprocha a Jung en el Liber Secundus, cap. XXI, *The Magician*: su seriedad sacude el orden del más allá.

«That’s not so strange. The absolute was always adverse to the living. I am still the real master of life.”» — lo que la serpiente sostiene de sí misma en el Liber Secundus, cap. XXI, *The Magician*, frente a lo absoluto.

«But could you exist without divisiveness and disunity? You have to get worked up about something, represent a party, overcome opposites, if you want to live.”» — la objeción que la serpiente le hace a Jung en el Liber Secundus, cap. XXI, *The Magician* sobre la necesidad del conflicto para vivir.

«The Cabiri: “We carry what is not to be carried from below to above. We are the juices that rise secretly, not by force, but sucked out of inertia and affixed to what is growing. We know the unknown ways and the inexplicable laws of living matter.» — los Cabiros, figuras que hablan en el Liber Secundus, cap. XXI, *The Magician*, se presentan como los jugos que suben en secreto y conocen las leyes de la materia viva.

«We do this slowly and easily, what you do in vain in your human way. We complete what is impossible for you.” I: “What should I leave to you? Which troubles can I transfer to you? What should I not do, and what do you do better?” The Cabiri: “You forget the lethargy of matter. You want to pull up with your own force what can only rise slowly, ingesting itself, affixed to itself from within. Spare yourself the trouble, or you will disturb our work.» — lo que los Cabiros le dicen a Jung sobre su propio trabajo (Liber Secundus, cap. XXI, *The Magician*).

«We placed stone upon stone. Now you stand on solid ground.” I: “I feel the ground more solid. I stretch upward.” The Cabiri: “We forged a flashing 166/167 sword for you, with which you can cut the knot that entangles you.” I: “I take the sword firmly in my hand. I lift it for the blow.” The Cabiri: “We also place before you the devilish, skillfully twined knot that locks and seals you.» — lo que los Cabiros declaran haber puesto a los pies de Jung en el Liber Secundus, cap. XXI, *The Magician*: suelo firme y un nudo diabólico que lo sella.

«Man is entangled in his brain and the sword is also given to him to cut through the entanglement.” I: “What is the entanglement you speak of?” The Cabiri: “The entanglement is your madness, the sword is the overcoming of madness.» — la lectura que los Cabiros dan del enredo y de la espada en el Liber Secundus, cap. XXI, *The Magician*.

«Do not hesitate. We need destruction since we ourselves are the entanglement. He who wishes to conquer new land 167/168 brings down the bridges behind him. Let us not exist anymore. We are the thousand canals in which everything also flows back again into its origin.” I: “Should I sever my own roots? Kill my own people, whose king I am? Should I make my own tree wither? You really are the sons of the devil.” The Cabiri: “Strike, we are servants who want to die for their master.» — lo que los Cabiros piden de Jung en el Liber Secundus, cap. XXI, *The Magician*: que los destruya, porque ellos mismos son el enredo.

«Then you will no longer be your brain, but will exist beyond your madness.» — lo que los Cabiros anuncian tras ese golpe (Liber Secundus, cap. XXI, *The Magician*).

«I set foot on new land. Nothing brought up should flow back. No one shall tear down what I have built. My tower is of iron and has no seams. The devil is forged into the foundations.» — lo que Jung declara tras matar a los Cabiros en el Liber Secundus, cap. XXI, *The Magician*: torre de hierro sin costuras, con el diablo forjado en los cimientos.

«I’m not sending you away. You must not be far from me. But give to me out of your fullness, not your longing. I cannot satisfy your poverty just as you cannot still my longing.» — lo que Jung le responde a Salomé en el Liber Secundus, cap. XXI, *The Magician*: que dé de su plenitud y no de su anhelo.

«I accepted Salome as pleasure, and reject her as love. But she wants to be with me. How, then, should I also have love for myself? Love, I believe, belongs to others. But my love wants to be with me. I dread it. May the power of my thinking push it from me, into the world, into things, into men. For something should join men together, something should be a bridge.» — el deslinde que Jung hace en el Liber Secundus, cap. XXI, *The Magician* entre aceptar a Salomé como placer y rechazarla como amor.

«It is the most difficult temptation, if even my love wants me!» — lo que Jung llama la tentación más difícil en el Liber Secundus, cap. XXI, *The Magician*.

«You must also be able to hang if you want to solve problems.» — la instrucción que Jung recibe colgado del árbol divino en el Liber Secundus, cap. XXI, *The Magician*.

«Sal (cruelly): “Hang until you understand.”» — la sentencia de Salomé mientras Jung cuelga en el Liber Secundus, cap. XXI, *The Magician*.

«Serpent: “I am only my own half; I’m not one, but two; I’m» — lo que la serpiente dice de sí en el Liber Secundus, cap. XXI, *The Magician*: es solo su propia mitad; la frase se corta en el límite de segmento del troceo.

«Satan: “Whoever gets on in a sovereign way with the opposites knows left from right.”» — Satán, que aparece en el Liber Secundus, cap. XXI, *The Magician*, replica a la reconciliación de los opuestos.

«Sal: “I haven’t cried anymore, for good fortune and misfortune are balanced in me.”» — lo que Salomé declara de sí misma en el Liber Secundus, cap. XXI, *The Magician* una vez equilibrados fortuna y desgracia.

«I am locked up and condemned within myself. I am my own priest and congregation, judge and judged, God and human sacrifice.» — la condición en que Jung se encuentra en el Liber Secundus, cap. XXI, *The Magician*: sacerdote y congregación, juez y juzgado, dios y víctima.

«What a work you have accomplished, Cabiri! You have given birth to a cruel law from the chaos that cannot be revoked.» — lo que Jung les reprocha a los Cabiros en el Liber Secundus, cap. XXI, *The Magician*: haber parido del caos una ley cruel.

«Words are poor, and beauty does not attend them. But is truth beautiful and beauty true?» — lo que el Liber Secundus, cap. XXI, *The Magician* dice de la palabra, con la pregunta que deja abierta; se corta antes de la llamada a nota 338, que el troceo imprime en renglón aparte.

«One can speak in beautiful words about love, but about life? And life stands above love. But love is the inescapable mother of life.» — el orden que el mismo capítulo establece entre vida y amor.

«Life should never be forced into love, but love into life. May love be subject to torment, but not life. As long as love goes pregnant with life, it should be respected; but if it has given birth to life from itself, it has turned into an empty sheath and expires into transience. I speak against the mother who bore me, I separate myself from the bearing womb.339 I speak no more for the sake of love, but for the sake of life.» — la inversión con que el Liber Secundus, cap. XXI, *The Magician* ordena amor y vida, y el cambio de razón para hablar.

«Happy is he who can be a hermit in his own desert.» — la bienaventuranza que enuncia el Liber Secundus, cap. XXI, *The Magician*.

«I recognize you, ΦΙΛΗΜΩΝ, you most cunning of all fraudsters! You have deceived me. You impregnated my maidenly soul with the terrible worm.» — la acusación que Jung le lanza a ΦΙΛΗΜΩΝ en el Liber Secundus, cap. XXI, *The Magician*.

«The old king was startled at his son’s knowledge, but even more by his impetuous longing for regal power.» — el cuento del rey y su hijo que la serpiente narra en el Liber Secundus, cap. XXI, *The Magician*.

«When the nine months had passed, he dug out the pot again; the body had disappeared, but in the pot there lay a sleeping infant, and he realized that the infant was his dead son.» — el desenlace de ese cuento: el hijo muerto enterrado en un puchero renace como niño (Liber Secundus, cap. XXI, *The Magician*).

«But I spoke to my serpent: “In truth, my serpent, I didn’t know that you are also a teller of fairy tales.» — lo que Jung le dice a su serpiente tras oír el cuento en el Liber Secundus, cap. XXI, *The Magician*.

«I: “It’s true, I want the son and survival. But the price for this is high.”» — lo que Jung reconoce querer al final del Liber Secundus, cap. XXI, *The Magician*, y a qué precio.

«No longer with the God,350 but alone with myself.» — la última línea del Liber Secundus; el 350 dentro de la cita es la llamada a nota del volumen.

«I resist, I cannot accept this hollow nothing that I am. What am I? What is my I? I always presuppose my I. Now it stands before me —I before my I. I speak now to you, my I:» — apertura de Scrutinies: Jung se planta ante su propio yo y le habla, que es la forma entera del tercer libro.

«We are alone and our being together threatens to become unbearably boring. We must do something, devise a pastime; for example, I could educate you. Let us begin with your main flaw, which strikes me first: you have no correct self-esteem.» — lo primero que Jung le dice a su yo en Scrutinies: le reprocha no tener estima propia justa.

«The dear old God has died,4 and it is good that way, otherwise he would have had pity on your repentant sinfulness and spared me the execution by granting mercy.» — lo que Scrutinies declara del dios viejo, cuya muerte le quita al yo el recurso de la clemencia; el 4 dentro de la cita es la llamada a nota.

«You must know that neither a God of love nor a loving God has yet arisen, but instead a worm of fire crawled up, a magnificent frightful entity that lets fire rain on the earth, producing lamentations.» — lo que Scrutinies pone en lugar del dios de amor: un gusano de fuego que hace llover fuego sobre la tierra.

«Your inordinate ambition is boundless. Your grounds are not focused on the good of the matter but on your vanity.» — el reproche de ambición y vanidad que Jung le hace a su yo en Scrutinies.

«You preach hypocritical composure. But when it really matters, are you calm? No, you lie.» — la acusación de hipocresía en Scrutinies.

«Your grounds are webs of lies covering a dirty corner. You judge others and charge them with what they should do. You do this because you have no order within yourself, because you are unclean.» — lo que Jung le imputa a las razones de su yo en Scrutinies.

«What you call love oozes with self-interest and desirousness.» — lo que Scrutinies dice del amor del yo.

«Freedom does not belong to you, but form; not power, but suffering and conceiving.» — el reparto que Scrutinies le asigna al yo: forma en vez de libertad, sufrir y concebir en vez de poder.

«If I tame you, beast, I give others the opportunity to tame their beasts.» — la razón que Jung da en Scrutinies para publicar su propio desprecio de sí.

«Your sensitivity is your particular form of violence.» — la fórmula con que Scrutinies reinterpreta la susceptibilidad del yo.

«Fill your beaker with the bitter drink of subjugation, since you are not your soul. Your soul is with the fiery God who flamed up to the roof of the heavens.» — el deslinde de Scrutinies entre el yo y el alma, que está con el dios ígneo.

«After I had spoken these and many more angry words to my I, I noticed that I began to bear being alone with myself. But the touchiness still stirred in me frequently and I had to lash myself just as often.» — el efecto que Scrutinies declara de esa reprimenda: empezar a soportar la soledad consigo mismo.

«Then I heard a voice one night; it came from afar and was the voice of my soul.» — el regreso del alma en Scrutinies, ahora desde lejos.

«It is not your severity, it is not your cruelty, but necessity.» — lo que Jung reconoce en el alma en Scrutinies: no crueldad, necesidad.

«But my soul called from afar: “Leave him compassion, compassion binds life and death.» — lo que el alma le manda dejarle al yo en Scrutinies, con la razón que da.

«But we have so much knowledge and such a thirst for knowledge in us that we need knowledge more than belief. But the strength of belief would hinder us from attaining knowledge. Belief certainly may be something strong, but it is empty, and too little of the whole man can be involved, if our life with God is grounded only on belief.» — el argumento de Scrutinies contra fundar la vida con Dios solo en la creencia.

«it is also dangerous to believe too much, because today everyone has to find his own way and encounters in himself a beyond full of strange and mighty things.» — el peligro que Scrutinies ve en creer demasiado, ahora que cada quien halla en sí un más allá.

«You must go your way, unconcerned about others, no matter whether they are good or bad.» — la instrucción de Scrutinies sobre el camino propio.

«Science is too superficial, mere language, mere tools.» — el juicio sobre la ciencia en Scrutinies.

«Gold is no master out of its own will and yet it rules the whole, despised and greedily demanded, an inexorable ruler: it lies and waits.» — la figura del oro en Scrutinies, señor inexorable que yace y espera.

«Hence when the God appears to us we are at first powerless, captivated, divided, sick, poisoned with the strongest poison, but drunk with the highest health.» — lo que Scrutinies dice de la aparición del dios: veneno y salud a la vez.

«It is certainly possible and even quite easy for our reason to deny the God and to speak only of sickness. Thus we accept the sick part and can also heal it. But it will be a healing with loss. We lose a part of life. We go on living, but as ones lamed by the God. Where the fire blazed dead ashes lie. I believe that we have the choice: I preferred the living wonders of the God.» — la alternativa que Scrutinies deja abierta entre negar al dios y hablar solo de enfermedad, y la elección declarada de Jung.

«The God should not live in you, but you should live in the God.» — la inversión que Scrutinies impone a la fórmula del dios interior.

«He is the flesh spirit, the blood spirit, he is the extract of all bodily juices, the spirit of the sperm and the entrails, of the genitals, of the head, of the feet, of the hands, of the joints, of the bones, of the eyes and ears, of the nerves and the brain; he is the spirit of the sputum and of excretion.”» — lo que el alma dice en Scrutinies del espíritu de la carne, extracto de todos los jugos del cuerpo.

«Your body remains with you, my beloved, your living body. The enlightening thought comes from the body.”» — lo que el alma le deja a Jung en Scrutinies tras marcharse con el dios: el cuerpo, del que viene el pensamiento que alumbra.

«The way that leads to this knowledge is Hell.”» — lo que el alma dice en Scrutinies de la vía hacia ese conocimiento.

«But,” she said, “you need not die. You must only let yourself be buried.» — lo que Brimo, la vieja primordial de Scrutinies, le pide a Jung.

«But love is: to bear and endure oneself.» — la definición de amor en Scrutinies.

«Joy should neither be made nor sought; it should come, if it must come.» — lo que Scrutinies dice de la alegría.

«Community with the dead is what both you and the dead need.» — la necesidad recíproca que Scrutinies establece entre el vivo y los muertos.

«Not death for the sake of the best, but befouling and rending of the most beautiful for the sake of life.» — la fórmula con que Scrutinies invierte el sacrificio de lo mejor.

«treat the souls, daimons, and Gods in their way, offering what is demanded. But burden no man, demand and expect nothing from him, with what your devil-souls and God-souls lead you to believe, but endure and remain silent and do piously what befits your kind.» — la regla que ΦΙΛΗΜΩΝ da en Scrutinies: dar a los daimones lo que piden y no cargar con ello a nadie.

«without him soliciting your opinion or advice, you do so because you cannot distinguish yourself from your soul. Therefore you fall victim to her presumption and help her into whoring. Or do you believe that you must lend your human power to the soul or the Gods, or even that it will be useful and pious work if you want to bring the Gods to bear on others? Blinded one, that is Christian presumptuousness. The Gods don’t need your help, you laughable idolater, who seem to yourself like a God and want to form, improve, rebuke, educate, and create men. Are you perfect yourself?—therefore remain silent, mind your business, and behold your inadequacy every day. You are most in need of your own help; you should keep your opinions and good advice ready for yourself and not run to others like a whore with understanding and the desire to help. You don’t need to play God. What are daimons, who don’t act out of themselves? So let them go to work, but not through you, or else you yourself will become a daimon to others; leave them to themselves and don’t pre-empt them with awkward love, concern,» — lo que ΦΙΛΗΜΩΝ imputa en Scrutinies a quien aconseja sin que le pidan: no distingue su alma de sí.

«But the daimons are pleased at the raving of helpless men advising and striving to help others.» — lo que ΦΙΛΗΜΩΝ dice del gusto de los daimones por los que quieren ayudar (Scrutinies).

«Power is given to the weak man, a poison that paralyzes even the Gods, like a poison sting bestowed upon the little bee whose force is far inferior to yours.» — la imagen del aguijón de la abeja con que ΦΙΛΗΜΩΝ describe el poder del débil en Scrutinies.

«You are your soul’s eunuch, who protects her from Gods and men, or protects the Gods and men from her.» — lo que el alma le dice a Jung en Scrutinies sobre su papel de guardián.

«“It is difficult for me to unite hate and love,” I replied.» — lo que Jung responde en Scrutinies ante la exigencia de unir odio y amor.

«Let this day be a festival celebrating joy and life—the day upon which you, blessed one, commence the return journey from the land of men where you have learned how to be a soul.» — la fiesta con que Scrutinies celebra el regreso del alma desde la tierra de los hombres.

«The dead demand your expiatory prayers.» — la exigencia de los muertos en Scrutinies.

«You, my soul, force mortal men to labor and suffer for your salvation.» — lo que Jung le reprocha a su alma en Scrutinies.

«Now then,” she said, “I want to set to work. But you must build the furnace. Throw the old, the broken, the worn out, the unused, and the ruined into the melting pot, so that it will be renewed for fresh use. “It is the custom of the ancients, the tradition of the ancestors, observed since days of old.» — lo que el alma le manda construir en Scrutinies, un horno, invocando la costumbre de los antiguos.

«It is the stammering of a minor; it is my poverty and my incapacity, my inability to do otherwise.» — cómo llama Jung a su propia palabra en Scrutinies.

«Now hear: I begin with nothingness. Nothingness is the same as the fullness.» — apertura del primer sermón de los Scrutinies, *Septem Sermones ad Mortuos*, en boca de ΦΙΛΗΜΩΝ ante los muertos: la nada es lo mismo que la plenitud.

«We call this nothingness or fullness the Pleroma.82 Therein both thinking and being cease, since the eternal and endless possess no qualities. No one is in it, for he would then be distinct from the Pleroma, and would possess qualities that would distinguish him as something distinct from the Pleroma. “In the Pleroma there is nothing and everything.» — la definición del Pleroma en el primer sermón de los Scrutinies, *Septem Sermones ad Mortuos*.

«Creation is not in the Pleroma, but in itself.» — el deslinde entre creación y Pleroma en los Scrutinies, *Septem Sermones ad Mortuos*.

«First: these qualities are differentiated and separate in us; therefore they do not cancel each other out, but are effective. Thus we are the victims of the pairs of opposites. The Pleroma is rent within us. “Second: these qualities belong to the Pleroma, and we must possess and live them only in the name and under the sign of differentiation. We must differentiate ourselves from these qualities. They cancel each other out in the Pleroma, but not in us.» — la razón por la que en el hombre las cualidades del Pleroma obran en vez de cancelarse (Scrutinies, *Septem Sermones ad Mortuos*).

«But if we remain true to our essence, which is differentiation, we differentiate ourselves from the good and the beautiful, and hence from the evil and ugly.» — lo que los Scrutinies, *Septem Sermones ad Mortuos* llaman esencia del hombre: la diferenciación.

«Therefore you must not strive for what you conceive as distinctiveness, but for your own essence.» — la instrucción de los Scrutinies, *Septem Sermones ad Mortuos*: no aspirar a cualidades, sino a la esencia propia.

«Since, however, thought alienates us from our essence, I must teach you that knowledge with which you can bridle your thoughts.» — la razón que ΦΙΛΗΜΩΝ da para enseñar a los muertos (Scrutinies, *Septem Sermones ad Mortuos*).

«We need no proof of their existence. It is enough that we have to keep speaking about them.» — el criterio de existencia que los Scrutinies, *Septem Sermones ad Mortuos* aplican a los dioses.

«Effectiveness joins them. Effectiveness, therefore, stands above both, and is a God above God, since it unites fullness and emptiness through its effectuality.» — la posición que los Scrutinies, *Septem Sermones ad Mortuos* dan a la eficacia: un dios por encima de Dios.

«Abraxas is effect. Nothing stands opposed to him but the ineffective; hence his effective nature unfolds itself freely. The ineffective neither exists nor resists. Abraxas stands above the sun and above the devil. He is improbable probability, that which takes unreal effect. If the Pleroma had an essence, Abraxas would be its manifestation. “He is the effectual itself, not any particular effect, but effect in general.» — la definición de Abraxas en los Scrutinies, *Septem Sermones ad Mortuos*: el efecto en general, sin nada que se le oponga salvo lo ineficaz.

«My son, these dead have had to reject the belief of the Christians and therefore they can pray to no God. So should I teach them a God in whom they can believe and to whom they can pray? That is precisely what they have rejected. Why did they reject it? They had to reject it because they could not do otherwise. And why did they have no other choice? Because the world, without these men knowing it, entered into that month of the great year where one should believe only what one knows.96 That is difficult enough, but it is also a remedy for the long sickness that arose from the fact that one believed what one did not know. I teach them the God whom both I and they know of without being aware of him, a God in whom one does not believe and to whom one does not pray, but of whom one knows.» — lo que ΦΙΛΗΜΩΝ dice enseñar a los muertos en Scrutinies: un dios que no se cree ni se ora, sino que se sabe.

«Abraxas is the God who is difficult to grasp. His power is greatest, because man does not see it.» — lo que los Scrutinies, *Septem Sermones ad Mortuos* dicen del poder de Abraxas, que es el mayor porque no se ve.

«The power of Abraxas is twofold; but you do not see it, because in your eyes the warring opposites of this power are canceled out. “What the Sun God speaks is life, what the devil speaks is death. “But Abraxas speaks that hallowed and accursed word that is at once life and death. “Abraxas produces truth and lying, good and evil, light and darkness, in the same word and in the same act.» — la doble naturaleza de Abraxas en los Scrutinies, *Septem Sermones ad Mortuos*: produce verdad y mentira, bien y mal, en un mismo acto.

«But Abraxas is the world, its becoming and its passing.» — la identificación de Abraxas con el mundo en los Scrutinies, *Septem Sermones ad Mortuos*.

«Everything that you request from the Sun God produces a deed from the devil. Everything that you create with the Sun God gives effective power to the devil.» — la reciprocidad que los Scrutinies, *Septem Sermones ad Mortuos* establecen entre el dios sol y el diablo.

«He is the son’s horror of the mother. “He is the mother’s love for the son.» — la letanía de opuestos con que los Scrutinies, *Septem Sermones ad Mortuos* describen a Abraxas.

«We are, however, the Pleroma itself, for we are a part of the eternal and the endless.» — lo que los Septem Sermones ad Mortuos afirman de la pertenencia del hombre al Pleroma.

«This is no polytheism that I have made up! But many Gods who powerfully raise their voices and tear humanity to bloody pieces. So and so many men, weighed, numbered, apportioned, hacked, and devoured. Therefore I speak of many Gods as I speak of many things, since I know them. Why do I call them Gods? For the sake of their superiority.» — la aclaración de Scrutinies sobre sus muchos dioses: no es politeísmo inventado, y se los llama dioses por su superioridad.

«The sexuality of man goes toward the earthly, the sexuality of woman goes toward the spiritual. Man and woman become devils to each other if they do not distinguish their sexuality. “Man shall know the smaller, woman the greater. “Man shall differentiate himself both from spirituality and sexuality. He shall call spirituality mother, and set her between Heaven and earth. He shall call sexuality Phallos, and set him between himself and earth.» — la dirección que los Scrutinies, *Septem Sermones ad Mortuos* dan a la sexualidad de cada sexo, y el nombre del Falo puesto entre el hombre y la tierra.

«If you do not differentiate yourselves from sexuality and from spirituality, and do not regard them as an essence both above and beyond you, you are delivered over to them as qualities of the Pleroma. Spirituality and sexuality are not your qualities, not things you possess and encompass.» — la exigencia de los Scrutinies, *Septem Sermones ad Mortuos*: sexualidad y espiritualidad no son cualidades propias sino esencias por encima de uno.

«Community in everything is dismemberment and dissolution. “Differentiation leads to singleness.» — el par que los Scrutinies, *Septem Sermones ad Mortuos* contraponen: comunidad en todo y diferenciación.

«But because of man’s weakness with regard to the Gods and daimons and their invincible law, community is necessary, not for man’s sake, but because of the Gods.» — la razón última de la comunidad en los Scrutinies, *Septem Sermones ad Mortuos*: no por el hombre, por los dioses.

«I have fanned a glowing fire, I have given the murderer a knife, I have torn open healed-over wounds, I have quickened all movement, I have given the madman more intoxicating drink, I have made the cold colder, the heat hotter, falseness even falser, goodness even better, weakness even weaker.» — lo que Jung se atribuye en Scrutinies al hacer un balance de su propia obra sobre los hombres.

«It is accomplished, but not fulfilled. Fruit of the earth, sprout, rise up— and Heaven, pour out the water of life.» — el cierre del sacrificio en Scrutinies: cumplido y no colmado.

«Everything is running its usual course. Nothing has happened, and yet a sweet and indescribable mystery has taken place: I stepped out of the whirling circle.» — lo que Jung declara haber hecho en Scrutinies: salir del círculo giratorio sin que nada haya pasado.

«I stepped onto what is solid and took it with me and saved it from the wave surge, from the cycle of births, and from the revolving wheel of endless happening. It has been stilled.» — lo que Scrutinies dice haber salvado del ciclo de nacimientos y de la rueda del acontecer.

«Man is a gateway, through which you pass from the outer world of Gods, daimons, and souls into the inner world, out of the greater into the smaller world.» — la definición del hombre como puerta en el último sermón de los Scrutinies, *Septem Sermones ad Mortuos*.

«In this world, man is Abraxas, the creator and destroyer of his own world. “This star is the God and the goal of man. “This is his one guiding God, “in him man goes to his rest, “toward him goes the long journey of the soul after death, in him everything that man withdraws from the greater world shines resplendently. “To this one God man shall pray. “Prayer increases the light of the star, “it throws a bridge across death, “it prepares life for the smaller world, and assuages the hopeless desires of the greater. “When the greater world turns cold, the star shines. “Nothing stands between man and his one God, so long as man can turn away his eyes from the flaming spectacle of Abraxas.» — lo que los Scrutinies, *Septem Sermones ad Mortuos* dicen del hombre en su mundo interior: es Abraxas, y solo apartando los ojos de él llega a su dios único.

«These dead believed in the transformation and development of man. They were convinced of human nothingness and transitoriness.» — lo que Scrutinies dice de las creencias de los muertos.

«Whoever recognizes this stops being flame; he becomes smoke and ashes. He lasts and his transitoriness is over. He has become someone who is. You dreamed of the flame, as if it were life. But life is duration, the flame dies away.» — lo que ΦΙΛΗΜΩΝ dice del que reconoce el momento eterno en Scrutinies.

«Time is the fire that flares up, consumes, and dies down. I saved being from time, redeeming it from the fires of time and the darkness of time, from Gods and devils.» — la fórmula con que ΦΙΛΗΜΩΝ declara haber salvado el ser del tiempo en Scrutinies.

«I am not your enemy, I am a stranger to you. My skin is dark and my eyes shine golden.” “What do you bring?” I asked fearfully. “I bring abstinence—abstinence from human joy and suffering.» — lo que la figura que trae la abstinencia le dice a Jung en Scrutinies.

«Far from love, love the whole.” I looked at him fearfully and said, “Why are you as dark as the earth of the fields and as black as iron? I’m afraid of you; such pain, what have you done to me?” “You may call me death—death that rose with the sun.» — lo que esa figura pide y el nombre que se da en Scrutinies.

«The simple is cruel, it does not unite with the manifold.» — lo que Scrutinies dice de lo simple.

«The spirituality of woman is more earthly, it moves toward the smaller. “Mendacious and devilish is the spirituality of man, and it moves toward the smaller. “Mendacious and devilish is the spirituality of woman, and it moves toward the greater. “Each shall go to its own place. “Man and woman become devils to each other if they do not separate their spiritual ways, for the essence of creation is differentiation.» — lo que los Scrutinies, *Septem Sermones ad Mortuos* sostienen sobre los caminos espirituales de hombre y mujer, que han de separarse porque la esencia de la creación es la diferenciación.

«Man is weak, and community is therefore indispensable. If your community is not under the sign of the mother, it is under the sign of the Phallos.» — la razón de la comunidad en los Scrutinies, *Septem Sermones ad Mortuos* y los dos signos bajo los que puede estar.

«Men have changed. They are no longer the slaves and no longer the swindlers of the Gods and no longer mourn in your name, but they grant hospitality to the Gods.» — lo que Scrutinies declara cambiado en los hombres, que hospedan a los dioses en vez de servirlos o engañarlos.

«To the superficial observer, it will appear like madness. It would also have developed into one, had I not been able to absorb the overpowering force of the original experiences. With the help of alchemy, I could finally arrange them into a whole.» — lo que el Epílogo concede y a la vez acota: al observador superficial la obra le parecerá locura, y habría llegado a serlo sin la alquimia para ordenarla.

«I always knew that these experiences contained something precious, and therefore I knew of nothing better than to write them down in a “precious,” that is to say costly, book and to paint the images that emerged through reliving it all—as well as I could.» — la razón que da el Epílogo para el libro costoso y las pinturas: las experiencias contenían algo precioso.

«I knew how frightfully inadequate this undertaking was, but despite much work and many distractions I remained true to it, even if another / possibility never.» — la última frase del Epílogo, que el volumen imprime cortada a media oración tal como quedó en el manuscrito.

«The beginning of the end came in 1928, when Wilhelm sent me the text of the “Golden Flower,” an alchemical treatise. There the contents of this book found their way into actuality and I could no longer continue working on it.» — el Epílogo de 1959 fecha el fin del trabajo en el envío del *Secreto de la flor de oro* por Richard Wilhelm, con lo que el contenido del libro pasó a la realidad.

«Two figures—the old sage and the young maiden—step into the field of vision, unexpectedly for consciousness, but characteristic of the mythological spirit upon which consciousness rests.» — el apéndice B, *Commentaries*, manuscrito de Jung lee la aparición de Elías y Salomé como irrupción del espíritu mitológico sobre el que descansa la conciencia.

«In contrast, Eros is a principle that contains a commingling of all the fundamental activities of the soul just as much as it masters them, although its purpose is completely different.» — el apéndice B, *Commentaries*, manuscrito de Jung define el Eros como principio que mezcla y a la vez domina las actividades fundamentales del alma.

«The old prophet expresses persistence, but the young maiden denotes movement.» — el reparto entre persistencia y movimiento en el apéndice B, *Commentaries*, manuscrito de Jung.

«Their impersonal essence is expressed by the fact that they are figures belonging to general human history; they do not belong to a person but have been a spiritual content of the world’s peoples since time immemorial.» — el argumento del apéndice B, *Commentaries*, manuscrito de Jung para la impersonalidad de esas figuras: pertenecen a la historia humana general y no a una persona.

«Although this relation is very frequent, as manifested by the constancy of this primordial image, it is nevertheless a special case that possesses no general validity. For if these were two opposed principles, one could not arise from the other and thus depend on it. Salome is hence apparently no (complete) correct embodiment of Eros, but a variety of the same.» — la reserva que el apéndice B, *Commentaries*, manuscrito de Jung pone a su propia lectura: Salomé no es encarnación correcta del Eros sino variedad suya.

«The house represents a fixed abode, which indicates that Logos and Eros have permanent residence in us.» — la lectura de la casa en el apéndice B, *Commentaries*, manuscrito de Jung.

«Logos undoubtedly has the upper hand in this, my case, since Elijah says that he and his daughter have always been one. Yet Logos and Eros are not one, but two. In this case, however, Logos has blinded and subjugated Eros. But if this is the case, then the necessity will also arise to free Eros from the clutch of Logos, so that the former will regain vision.» — lo que el apéndice B, *Commentaries*, manuscrito de Jung concluye del dicho de Elías sobre su unidad con la hija: el Logos domina, y hay que librar al Eros de esa presa.

«The soul of the man is more inclined to Logos than to Eros, which is more characteristic of the essence of the woman.» — la adjudicación de Logos y Eros a hombre y mujer en el apéndice B, *Commentaries*, manuscrito de Jung.

«The subjugation of Eros through Logos explains not only the blindness of Eros but also the somewhat strange fact that Eros is represented precisely by the not-so-pleasing figure of Salome.» — lo que el apéndice B, *Commentaries*, manuscrito de Jung explica con esa subyugación: la ceguera del Eros y la figura poco grata de Salomé.

«A principle always has the dignity of independence. But if this dignity is taken from it, it is debased and then assumes a bad form.» — la regla del apéndice B, *Commentaries*, manuscrito de Jung sobre los principios despojados de su dignidad.

«Only one way remains open to whoever wants to free himself from this suffering: he must accept the repressed part of his soul, he must love his inferiority, even his vices, so that what is degenerate can resume development.» — la única vía que el apéndice B, *Commentaries*, manuscrito de Jung deja para salir de ese sufrimiento: aceptar y amar la propia inferioridad.

«Wherever Logos rules, there is order but too much persistence. The allegory of paradise where there is no struggle and therefore no development is fitting here.» — lo que el apéndice B, *Commentaries*, manuscrito de Jung imputa al dominio del Logos, con el paraíso sin lucha por alegoría.

«Only disobedience against the ruling principle leads out of this condition of undeveloped persistence. The story of paradise repeats itself, and hence the serpent winds its way up the tree because Adam should be led into temptation. Every development leads through the undeveloped, but capable of development.» — la salida que el apéndice B, *Commentaries*, manuscrito de Jung propone: desobedecer al principio reinante.

«The left is the side of the inauspicious. This suggests that Eros does not tend toward the right, the side of consciousness, conscious will and conscious choice, but toward the side of the heart, which is less subject to our conscious will. This movement toward the left is emphasized by the fact that the serpent moves in the same direction. The serpent represents magical power, which also appears where animal drives are aroused imperceptibly in us. They afford the movement of Eros the uncanny emphasis that strikes us as magical. Magical effect is the enchantment and underlining of our thought and feeling through dark instinctual impulses of an animal nature. The movement toward the left is blind, that is, without purpose and intention.» — la lectura del movimiento a la izquierda en el apéndice B, *Commentaries*, manuscrito de Jung.

«Christ overcame the world by burdening himself with its suffering. But Buddha overcame both the pleasure and suffering of the world by disposing of both.» — el deslinde que el apéndice B, *Commentaries*, manuscrito de Jung traza entre Cristo, que carga con el sufrimiento del mundo, y el Buda, que se deshace de placer y sufrimiento.

«Salome must of course despair of this end, which would like to turn Eros into spirit, since Eros cannot exist without the flesh.» — lo que el apéndice B, *Commentaries*, manuscrito de Jung dice de la desesperación de Salomé ante un Eros vuelto espíritu.

«The old man represents a spiritual principle that could be designated as» — el apéndice B, *Commentaries*, adjudica al viejo un principio espiritual; el nombre, Logos, queda del otro lado del corte de plana del troceo.

«“You shall experience even more of it. You are in the second age. The first age has been overcome. This is the age of the rulership of the son, whom you call the Frog God. A third age will follow, the age of apportionment and harmonious power.» — la voz que en el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 divide la historia en tres edades, con la del dios rana en el centro.

«I bind the Above with the Below. I bind God and animal. Something in me is part animal, something part God, and a third part human. Below you serpent, within you man, and above you God.» — el reparto en tres partes que enuncia el apéndice C, entrada del Black Book 5 del 16 de enero de 1916: serpiente abajo, hombre dentro, dios arriba.

«Above you comes the dove or the celestial soul, in which love and foresight are united, just as poison and shrewdness are united in the serpent.» — la simetría del apéndice C, entrada del Black Book 5 del 16 de enero de 1916 entre la paloma, donde se unen amor y previsión, y la serpiente, donde se unen veneno y astucia.

«And just as the moon is the crossing to the dead of space, the spiritual sun is the crossing to the Pleroma, the upper world of fullness. The moon is the God’s eye of emptiness, just as the sun is the God’s eye of fullness.» — la cosmología del apéndice C, entrada del Black Book 5 del 16 de enero de 1916: la luna es el paso a los muertos del espacio y el sol espiritual el paso al Pleroma.

«The Gods are favorable and unfavorable, impersonal, the souls of stars, influences, forces, grandfathers of souls, rulers in the heavenly world, both in space and in force. They are neither dangerous nor kind, strong, yet humble, clarifications of the Pleroma and of the eternal emptiness, configurations of the eternal qualities.» — lo que el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 dice de los dioses, almas de los astros e impersonales.

«Their number is immeasurably great and leads over to the one supreme fundamental, which contains all qualities in itself and itself has none, a nothing and everything, the complete dissolution of man, death and eternal life.» — lo que el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 pone al término de esa serie: el fundamento supremo, nada y todo a la vez.

«Man becomes through the principium individuationis. He strives for absolute individuality, through which he ever increasingly concentrates the absolute dissolution of the Pleroma.» — lo que el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 llama devenir del hombre por el *principium individuationis*.

«To attain individuality, we need a large share of death.» — la condición de la individualidad según el apéndice C, entrada del Black Book 5 del 16 de enero de 1916.

«Even Christ had to subjugate himself to the power of Abraxas, and Abraxas killed him in a gruesome manner.» — lo que el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 dice de Cristo frente a Abraxas.

«So do not flee from Abraxas, do not seek him. You feel his coercion, do not resist him, so that you shall live and pay your ransom.» — la instrucción del apéndice C, entrada del Black Book 5 del 16 de enero de 1916 sobre Abraxas: ni huir ni resistirse a su coerción.

«In one sense I say to you: do not fear him, do not love him. In another sense I say: fear him, love him.» — la doble instrucción, contradictoria y sostenida a la vez, con que el apéndice C, entrada del Black Book 5 del 16 de enero de 1916 cierra sobre Abraxas.

«A publication in arrangement with the Foundation of the Works of C. G. Jung, Zürich W. W. Norton & Company New York • London» — el pie de la portada: el volumen se publica en acuerdo con la Foundation of the Works of C. G. Jung y lo imprime Norton en Nueva York y Londres.

«Edited and with an Introduction by SONU SHAMDASANI PREFACE BY ULRICH HOERNI TRANSLATED BY MARK KYBURZ, JOHN PECK, AND SONU SHAMDASANI» — la portada reparte los papeles del volumen: Shamdasani edita y firma la introducción, Hoerni el prefacio, y la traducción va a tres manos.

«More than a decade has passed since the memorable decision of the former society of heirs of C. G. Jung to release The Red Book for publication.» — [Hoerni] abre el prefacio a la Reader's Edition fechando en más de una década la decisión de la sociedad de herederos de liberar el libro.

«Much consideration was given to what kind of audience this multilayered work should be directed: Professional readers of works on the history of psychology? The general reader? Visually receptive people, orientated toward images? Lovers of calligraphy? Collectors of beautiful books?» — [Hoerni] enumera los públicos que se discutieron para la edición: historiadores de la psicología, lector general, gente de imágenes, amantes de la caligrafía, coleccionistas.

«These questions weren’t easy to answer, since even the physical appearance of the precious original seemed to contain a message.» — [Hoerni] da la razón de la dificultad: la apariencia física del original le parecía llevar mensaje.

«It was W. W. Norton that finally found the appropriate solution: a complete facsimile edition, which was presented in its original format in 2009.» — [Hoerni] atribuye a Norton la solución adoptada, el facsímil completo presentado en su formato original en 2009.

«Overwhelming success proved that the publisher was right. The work rapidly spread worldwide and is already available in nine languages.» — [Hoerni] mide el resultado de esa decisión por la difusión: nueve lenguas.

«However, two names especially deserve to be mentioned, Jim Mairs (W. W. Norton) and Sonu Shamdasani (Philemon Foundation).» — [Hoerni] destaca dos nombres entre los acreedores del éxito, Jim Mairs por Norton y Shamdasani por la Philemon Foundation.

«The present Reader’s Edition contains the complete text of the original. It is specifically aimed toward those who would like to engage deeply with the literary documentation» — [Hoerni] declara qué es esta edición: el texto completo del original, dirigida a quien quiera leer de cerca la documentación literaria del desarrollo interior de Jung.

«It would undoubtedly accord with Jung’s intention if this edition helps readers to make their reading more fruitful for their own development.» — [Hoerni] cierra el prefacio con una conjetura sobre la intención de Jung, no con una afirmación: la edición concordaría con ella si ayuda al lector en su propio desarrollo.

«The year 1913 was pivotal in Jung’s life. He began a self-experiment that became known as his “confrontation with the unconscious” and lasted until 1930.» — [Hoerni] fecha en 1913 el inicio del autoexperimento que Jung llamó confrontación con el inconsciente, y en 1930 su término.

«He later called this method “active imagination.” He first recorded these fantasies in his Black Books. He then revised these texts, added reflections on them, and copied them in a calligraphic script into a book entitled Liber Novus bound in red leather, accompanied by his own paintings. It has always been known as the Red Book. Jung shared his inner experiences with his wife and close associates. In 1925 he gave a report of his professional and personal development in a series of seminars at the Psychological Club in Zürich in which he also mentioned his method of active imagination.» — [Hoerni] nombra el método —imaginación activa— y sitúa en los seminarios de 1925 del Club Psicológico de Zúrich el primer informe público de Jung sobre su desarrollo personal.

«Beyond this, Jung was guarded. His children, for example, were not informed about his self-experiment and they did not notice anything unusual. Clearly, it would have been difficult for him to explain what was taking place. It was already a mark of favor if he allowed one of his children to watch him write or paint.» — [Hoerni] mide la reserva de Jung por sus hijos: no se les informó del autoexperimento y ver escribir o pintar al padre era señal de favor.

«Thus for Jung’s descendants, the Red Book had always been surrounded by an aura of mystery. In 1930 Jung ended his experiment and put the Red Book aside—unfinished. Although it had its honored place in his study, he let it rest for decades.» — [Hoerni] describe el lugar del libro en la familia: aura de misterio, término del experimento en 1930, libro dejado inconcluso en sitio de honor del estudio.

«Although Jung actively considered publishing the Red Book, he never took the necessary steps. In 1916 he privately published the Septem Sermones ad Mortuos (Seven Sermons to the Dead), a short work that arose out of his confrontation with the unconscious. Even his 1916 essay, “The Transcendent Function,” in which he described the technique of active imagination, was not published until 1958. There are a number of reasons why he did not publish the Red Book. As he himself stated, it was unfinished. His growing interest in alchemy as a research topic distracted him.» — [Hoerni] da dos razones de la no publicación en vida: el libro estaba inacabado por declaración del propio Jung, y la alquimia lo distrajo.

«In hindsight, he described the detailed working out of his fantasies in the Red Book as a necessary but annoying “aestheticizing elaboration.”» — [Hoerni] cita el juicio retrospectivo de Jung sobre su propia labor de elaboración de las fantasías, que llamó necesaria y a la vez fastidiosa.

«As late as 1957 he declared that the Black Books and the Red Book were autobiographical records that he did not want published in his Collected Works because they were not of a scholarly character.» — [Hoerni] recoge la razón que Jung dio en 1957 para excluir los Black Books y el Red Book de las Collected Works: son registros autobiográficos sin carácter académico.

«As a concession, he allowed Aniela Jaffé to quote excerpts from the Red Book and the Black Books in Memories, Dreams, Reflections— a possibility which she made little use of.» — [Hoerni] consigna la concesión que sí hizo —permitir a Aniela Jaffé citar extractos en Memories, Dreams, Reflections— y que ella la aprovechó poco.

«In 1961, Jung died. His literary estate became the property of his descendants, who formed the Society of Heirs of C. G. Jung.» — [Hoerni] fecha en 1961 la muerte de Jung y el paso del legado literario a la Society of Heirs.

«In his will, Jung had expressed the wish that the Red Book and the Black Books should remain with his family, without, however, giving more detailed instructions.» — [Hoerni] cita el testamento —los libros debían quedar en la familia— y señala que no dejó instrucciones más detalladas, que es el hueco sobre el que decidieron los herederos.

«Since the Red Book was not meant to be published in the Collected Works, the Society of Heirs concluded that this was Jung’s final wish concerning the work, and that it was an entirely private matter.» — [Hoerni] expone la inferencia de la Society of Heirs: de la exclusión de las Collected Works dedujeron que ésa era la voluntad última de Jung y que el asunto era privado.

«The Society of Heirs guarded Jung’s unpublished writings like a treasure; no further publications were considered.» — [Hoerni] describe la política de custodia que siguió a esa inferencia.

«In 1984 the newly appointed executive committee had five photographic duplicates made for family use. For the first time, Jung’s descendants now had the opportunity to take a close look at it.» — [Hoerni] fecha en 1984 los cinco duplicados fotográficos de uso familiar, primera ocasión en que los descendientes pudieron mirarlo de cerca.

«The Red Book’s well-preserved state is due, among other things, to the fact that it has only rarely been opened in decades.» — [Hoerni] atribuye la buena conservación del manuscrito precisamente a que casi no se abrió.

«Yet whether and how this substantial material could be published remained an open question. At first glance, the style and content appeared to have little in common with Jung’s other works. Much was unclear and by the mid-1990s there was no one left who could have provided firsthand information on these points.» — [Hoerni] declara el estado de la cuestión a mediados de los noventa: el estilo y el contenido parecían tener poco en común con el resto de la obra y ya no quedaba nadie que informara de primera mano.

«However, since Jung’s time, the history of psychology had been gaining in importance and could now offer a new approach.» — [Hoerni] adjudica a la historia de la psicología el enfoque que hizo viable la publicación.

«But a historian of psychology would be able to present it to the modern reader as a historical document. With the help of primary sources he could embed it in the cultural context of its genesis, situate it within the history of science, and relate it to Jung’s life and works.» — [Hoerni] define el encargo editorial: presentar el libro como documento histórico, incrustarlo en el contexto cultural de su génesis con fuentes primarias y relacionarlo con la vida y la obra.

«Indeed, Jung let close friends have copies of transcriptions and discussed these with them. He did not categorically rule out publication; he simply left the issue unresolved.» — [Hoerni] apoya lo anterior en la circulación de transcripciones entre amigos, y matiza que Jung no descartó la publicación sino que dejó el asunto sin resolver.

«Moreover, Jung himself stated that he had gained the material for all his later works from his confrontation with the unconscious. As a record of this confrontation the Red Book is thus, beyond the private sphere, central to Jung’s works.» — [Hoerni] cierra el argumento por el peso de la obra: si Jung declaró haber sacado de esa confrontación el material de todos sus trabajos posteriores, el registro de ella es central y no meramente privado.

«Finally, the Society of Heirs decided democratically that the Red Book could be published. It was a long journey from that decision to the present publication. The result is impressive. This edition would not have been possible without the» — [Hoerni] consigna que la decisión final se tomó por votación y que el trayecto hasta la publicación fue largo.

«In 1983 the Society of Heirs placed the Red Book in a safedeposit box, knowing that it was an irreplaceable document.» — [Hoerni] fecha en 1983 el traslado a caja de seguridad; el troceo une el guion de corte y el verbatim sale *safedeposit* donde el volumen imprime *safe-deposit*.

«It turned out that there was an entire corpus of drafts and variants pertaining to the Red Book. From this it emerged that the missing part of the calligraphic text existed as a draft and that there was a manuscript entitled “Scrutinies,” which continued where the draft ended, containing the Seven Sermons.» — [Hoerni] refiere el hallazgo del corpus de borradores: la parte faltante del texto caligráfico existía como borrador y había un manuscrito titulado *Scrutinies* que continuaba donde el borrador terminaba y contenía los Siete Sermones.

«publication proposal following these guiding principles. On the basis of this proposal the Society of Heirs decided in spring 2000—not without discussion—to release the Red Book for publication and to hand over the task of editing it to Sonu Shamdasani.» — [Hoerni] fecha la decisión de los herederos en la primavera de 2000, tomada según su propia acotación no sin discusión, y el encargo de la edición a Shamdasani.

«Jung himself did not—as it had seemed— consider the Red Book a secret. On several occasions the text contains the address “dear friends”; it is, in other words, directed at an audience.» — [Hoerni] da el argumento que hizo cambiar el criterio: el texto se dirige repetidamente a unos *dear friends*, o sea a un público, de modo que Jung no lo habría tenido por secreto.

«C. G. Jung is widely recognized as a major figure in modern Western thought, and his work continues to spark controversies.» — [Shamdasani] abre la introducción situando a Jung como figura mayor del pensamiento occidental moderno cuya obra sigue en disputa.

«His work has had its widest impact, however, outside professional circles: Jung and Freud are the names that most people first think of in connection with psychology, and their ideas have been widely disseminated in the arts, the humanities, films, and popular culture. Jung is also widely regarded as one of the instigators of the New Age movement.» — [Shamdasani] sitúa el mayor efecto de Jung fuera del gremio —artes, humanidades, cine, cultura popular— y recoge que se le tiene por uno de los instigadores del New Age.

«There can be few unpublished works that have already exerted such far-reaching effects upon twentieth-century social and intellectual history as Jung’s Red Book, or Liber Novus (New Book).» — [Shamdasani] mide la anomalía del caso: pocas obras inéditas han tenido efectos tan largos sobre la historia intelectual del siglo XX.

«The first few decades of the twentieth century saw a great deal of experimentation in literature, psychology, and the visual arts.» — [Shamdasani] abre el apartado del momento cultural con la experimentación de las primeras décadas del siglo XX.

«Writers tried to throw off the limitations of representational conventions to explore and depict the full range of inner experience—dreams, visions, and fantasies.» — [Shamdasani] describe el programa de los escritores del periodo: sacudirse las convenciones representativas para explorar sueños, visiones y fantasías.

«Artists and writers collaborated to try out new forms of illustration and typography, new configurations of text and image.» — [Shamdasani] señala la colaboración entre artistas y escritores en nuevas formas de ilustración y tipografía, que es el marco en que sitúa el libro caligrafiado y pintado de Jung.

«A number of major psychologists, such as Alfred Binet and Charles Richet, wrote dramatic and fictional works, often under assumed names, whose themes mirrored those of their “scientific” works.» — [Shamdasani] cita a Binet y a Richet como psicólogos que escribían obras dramáticas y de ficción, a menudo bajo seudónimo, con los temas de sus trabajos científicos.

«Gustav Fechner, one of the founders of psychophysics and experimental psychology, wrote on the soul life of plants and of the earth as a blue angel.» — [Shamdasani] añade a Fechner, fundador de la psicofísica, escribiendo sobre la vida anímica de las plantas y sobre la tierra como ángel azul.

«W. B. Yeats utilized spiritualistic automatic writing to compose a poetic psychocosmology in A Vision.» — [Shamdasani] pone a Yeats y su escritura automática como caso vecino: una psicocosmología poética compuesta por medios espiritistas.

«Within this cultural crisis Jung conceived of undertaking an extended process of self-experimentation, which resulted in Liber Novus, a work of psychology in a literary form.» — [Shamdasani] define Liber Novus por su género: obra de psicología en forma literaria, concebida dentro de esa crisis cultural.

«We stand today on the other side of a divide between psychology and literature. To consider Liber Novus today is to take up a work that could have emerged only before these separations had been firmly established.» — [Shamdasani] advierte del anacronismo del lector actual: el libro solo pudo surgir antes de que se asentara la separación entre psicología y literatura.

«In a seminar in 1935, he recalled a portrait of his maternal grandmother which he would look at as a boy until he “saw” his grandfather descending the stairs.» — [Shamdasani] recoge de un seminario de 1935 la capacidad de Jung niño para evocar imágenes a voluntad ante un retrato de su abuela.

«One sunny day, when Jung was twelve, he was traversing the Münsterplatz in Basel, admiring the sun shining on the newly restored glazed roof tiles of the cathedral. He then felt the approach of a terrible, sinful thought, which he pushed away. He was in a state of anguish for several days. Finally, after convincing himself that it was God who wanted him to think this thought, just as it had been God who had wanted Adam and Eve to sin, he let himself contemplate it, and saw God on his throne unleashing an almighty turd on the cathedral, shattering its new roof and smashing the cathedral.» — [Shamdasani] narra la visión de la catedral de Basilea a los doce años, que Jung dejó llegar tras convencerse de que era Dios quien quería el pensamiento.

«He felt that it was an experience of the “direct living God, who stands omnipotent and free above the Bible and Church.”9 He felt alone before God, and that his real responsibility commenced then.» — [Shamdasani] da la lectura que Jung hizo de aquello: experiencia del Dios vivo por encima de Biblia e Iglesia, y comienzo de su responsabilidad propia.

«This sense of election led to a final disillusionment with the Church on the occasion of his First Communion. He had been led to believe that this would be a great experience. Instead, nothing.» — [Shamdasani] contrapone la elección sentida y la Primera Comunión, de la que Jung esperaba una gran experiencia y no obtuvo nada.

«Jung’s voracious reading started at this time, and he was particularly struck by Goethe’s Faust. He was struck by the fact that in Mephistopheles, Goethe took the figure of the devil seriously.» — [Shamdasani] fecha ahí las lecturas de Jung y destaca del Fausto de Goethe que tomara en serio la figura del diablo.

«In philosophy, he was impressed by Schopenhauer, who acknowledged the existence of evil and gave voice to the sufferings and miseries of the world.» — [Shamdasani] adjudica a Schopenhauer el mismo mérito a ojos de Jung: reconocer el mal y dar voz al sufrimiento del mundo.

«NO. 1 was the Basel schoolboy, who read novels, and NO. 2 pursued religious reflections in solitude, in a state of communion with nature and the cosmos. He inhabited “God’s world.” This personality felt most real.» — [Shamdasani] describe a la número 2 como la que hacía reflexión religiosa en soledad, en comunión con la naturaleza, y la que se sentía más real.

«NO. 2 had no definable character. He was connected to history, particularly with the Middle Ages. For NO. 2, NO. 1, with his failings and ineptitudes, was someone to be put up with. This interplay ran throughout Jung’s life. As he saw it, we are all like this—part of us lives in the present and the other part is connected to the centuries.» — [Shamdasani] generaliza el esquema como lo hacía Jung: parte de uno vive en el presente y otra está conectada a los siglos.

«He was protecting a small light from going out. He saw a large black figure threateningly close. He awoke, and realized that the figure was the shadow cast from the light. He thought that in the dream, NO. 1 was himself bearing the light, and NO. 2 followed like a shadow.» — [Shamdasani] refiere el sueño de la luz y la figura negra, donde Jung leyó a la número 1 llevando la luz y a la número 2 siguiéndola como sombra.

«In addition to his medical studies, Jung pursued an intensive program of extracurricular reading, in particular the works of Nietzsche, Schopenhauer, Swedenborg,11 and writers on» — [Shamdasani] enumera las lecturas extracurriculares del estudiante de medicina: Nietzsche, Schopenhauer, Swedenborg y autores de espiritismo.

«Nietzsche’s Thus Spoke Zarathustra made a great impression on him. He felt that his own personality NO. 2 corresponded to Zarathustra, and he feared that his personality NO. 2 was similarly morbid.» — [Shamdasani] consigna que Jung hizo corresponder su personalidad número 2 con Zaratustra y que temió que fuera igual de morbosa.

«Spiritualism particularly interested him, as the spiritualists appeared to be attempting to use scientific means to explore the supernatural, and prove the immortality of the soul.» — [Shamdasani] explica el interés del joven Jung por el espiritismo: le parecía un intento de explorar lo sobrenatural con medios científicos.

«Through spiritualism, the cultivation of trances—with the attendant phenomena of trance speech, glossolalia, automatic writing, and crystal vision—became widespread.» — [Shamdasani] inventaría las prácticas que el espiritismo difundió: trance, glosolalia, escritura automática y visión en cristal, técnicas que reaparecen en el propio experimento de Jung.

«The phenomena of spiritualism attracted the interest of leading scientists such as Crookes, Zollner, and Wallace. It also attracted the interest of psychologists, including Freud, Ferenczi, Bleuler, James, Myers, Janet, Bergson, Stanley Hall, Schrenck-Notzing, Moll, Dessoir, Richet, and Flournoy.» — [Shamdasani] lista los científicos y psicólogos que atendieron al espiritismo, de Crookes y Wallace a Freud, James, Myers, Janet, Bergson y Flournoy.

«In 1896, they engaged in a long series of sittings with his cousin Helene Preiswerk, who appeared to have mediumistic abilities. Jung found that during the trances, she would become different personalities, and that he could call up these personalities by suggestion.» — [Shamdasani] fecha en 1896 las sesiones con la prima Helene Preiswerk, en las que Jung observó que las personalidades del trance podían evocarse por sugestión.

«She unfolded stories of her previous incarnations and articulated a mystical cosmology, represented in a mandala.13 Her spiritualistic revelations carried on until she was caught attempting to fake physical apparitions, and the séances were discontinued.» — [Shamdasani] cierra el episodio sin armonizarlo: la médium desplegó encarnaciones previas y una cosmología mística en mandala, y las sesiones se cortaron al sorprenderla fingiendo apariciones.

«On reading Richard von Krafft-Ebing’s Text-Book of Psychiatry in 1899, Jung realized that his vocation lay in psychiatry, which represented a fusion of the interests of his two personalities.» — [Shamdasani] fecha en 1899 la vocación psiquiátrica de Jung, que le pareció fusión de los intereses de sus dos personalidades.

«Jung also had a sense of living in two centuries, and felt a strong nostalgia for the eighteenth century. His sense of duality took the» — [Shamdasani] introduce la dualidad que Jung se atribuía a sí mismo, con su nostalgia declarada del siglo XVIII; la frase sigue en la plana siguiente, donde nombra a las dos personalidades como número 1 y número 2.

«It was held that by turning psychology into a science through introducing scientific methods, all prior forms of human understanding would be revolutionized.» — [Shamdasani] enuncia la expectativa de época: convertir la psicología en ciencia revolucionaría todas las formas previas de comprensión humana.

«They argued that regardless of whether the alleged spiritualistic experiences were valid, such experiences enabled far-reaching insight into the constitution of the subliminal, and hence into human psychology as a whole.» — [Shamdasani] recoge el argumento con que los psicólogos justificaban atender al espiritismo: la validez de la experiencia era indiferente, lo que importaba era el acceso a lo subliminal.

«Automatic writing brought to light subpersonalities, and enabled dialogues with them to be held.» — [Shamdasani] señala lo que la escritura automática aportaba como técnica: subpersonalidades con las que se podía dialogar, que es la forma del propio Liber Novus.

«The new psychology was heralded as promising nothing less than the completion of the scientific revolution.» — [Shamdasani] mide la ambición con que se anunciaba la nueva psicología: nada menos que completar la revolución científica.

«Jung was so taken by Flournoy’s book that he offered to translate it into German, but Flournoy already had a translator.» — [Shamdasani] documenta el efecto de Flournoy sobre Jung con un dato de conducta: se ofreció a traducirlo al alemán.

«Jung’s work was closely modeled on Flournoy’s From India to the Planet Mars, both in terms of subject matter and in its interpretation of the psychogenesis of Helene’s spiritualistic romances.» — [Shamdasani] adjudica el modelo de la tesis doctoral de Jung a From India to the Planet Mars de Flournoy, en asunto y en interpretación.

«Jung’s dissertation also indicates the manner in which he was utilizing automatic writing as a method of psychological investigation.» — [Shamdasani] subraya que ya la tesis usaba la escritura automática como método de investigación psicológica.

«The conceptual basis of Jung’s early work lay in the work of Flournoy and Janet, which he attempted to fuse with the research methodology of Wilhelm Wundt and Emil Kraepelin.» — [Shamdasani] sitúa la base conceptual del Jung temprano en Flournoy y Janet, fundidos con la metodología de Wundt y Kraepelin.

«Jung and Riklin utilized the associations experiment, devised by Francis Galton and developed in psychology and psychiatry by Wundt, Kraepelin, and Gustav Aschaffenburg.» — [Shamdasani] da la genealogía del experimento de asociaciones que Jung y Riklin emplearon, de Galton a Wundt, Kraepelin y Aschaffenburg.

«The aim of the research project, instigated by Bleuler, was to provide a quick and reliable means for differential diagnosis.» — [Shamdasani] declara el fin práctico del proyecto instigado por Bleuler: un medio rápido y fiable de diagnóstico diferencial.

«The Burghölzli team failed to come up with this, but they were struck by the significance of disturbances of reaction and prolonged response times.» — [Shamdasani] consigna que el equipo no obtuvo lo que buscaba y sí las perturbaciones de reacción y los tiempos alargados, que fue el hallazgo lateral.

«Jung and Riklin argued that these disturbed reactions were due to the presence of emotionally stressed complexes, and used their experiments to develop a general psychology of complexes.» — [Shamdasani] refiere la lectura que Jung y Riklin dieron a esas perturbaciones —complejos de carga emocional— y su generalización en psicología de los complejos.

«For Jung, along with a number of other psychiatrists and psychologists at this time, such as Janet and Adolf Meyer, insanity was not regarded as something completely set apart from sanity, but rather as lying on the extreme end of a spectrum.» — [Shamdasani] atribuye a Jung, con Janet y Adolf Meyer, la tesis de que la locura no está separada de la cordura sino en el extremo de un continuo.

«This work established Jung’s reputation as one of the rising stars of psychiatry.» — [Shamdasani] mide el efecto profesional de esos trabajos.

«In 1906, he applied his new theory of complexes to study the psychogenesis of dementia praecox (later called schizophrenia) and to demonstrate the intelligibility of delusional formations.» — [Shamdasani] fecha en 1906 la aplicación de la teoría de los complejos a la demencia precoz, con la tesis de que las formaciones delirantes son inteligibles.

«Jung differentiated two kinds of thinking. Taking his cue from William James, among others, Jung contrasted directed thinking and fantasy thinking. The former was verbal and logical, while the latter was passive, associative, and imagistic. The former was exemplified by science and the latter by mythology.» — [Shamdasani] expone la distinción de Jung entre pensamiento dirigido y pensamiento fantasía, ejemplificados en la ciencia y en la mitología.

«Jung claimed that the ancients lacked a capacity for directed thinking, which was a modern acquisition.» — [Shamdasani] recoge la tesis de Jung de que el pensamiento dirigido es adquisición moderna que los antiguos no tenían.

«Jung reiterated the anthropological equation of the prehistoric, the primitive, and the child. He held that the elucidation of current-day fantasy thinking in adults would concurrently shed light on the thought of children, savages, and prehistoric peoples.» — [Shamdasani] consigna, sin suavizarla, la ecuación antropológica de época que Jung repite entre lo prehistórico, lo primitivo y el niño.

«He later termed his use of the comparative method “amplification.”» — [Shamdasani] nombra el uso junguiano del método comparativo, que Jung llamaría amplificación.

«He claimed that there had to be typical myths, which corresponded to the ethnopsychological development of complexes.» — [Shamdasani] atribuye a Jung la exigencia de mitos típicos correspondientes al desarrollo etnopsicológico de los complejos.

«The time is a critical one, for it marks the beginning of the second half of life, when a metanoia, a mental transformation, not infrequently occurs.”» — [Shamdasani] cita a Jung fechando su propia crisis en el umbral de la segunda mitad de la vida, donde sitúa la *metanoia*.

«He added that he was conscious of the loss of his collaboration with Freud, and was indebted to the support of his wife.» — [Shamdasani] añade lo que Jung reconocía de esa época: la pérdida de la colaboración con Freud y la deuda con el apoyo de su mujer.

«He was later to herald this work as marking the discovery of the collective unconscious, though the term itself came at a later date.» — [Shamdasani] pone el límite a la retrodatación: Jung presentó luego esa obra como descubrimiento del inconsciente colectivo, pero el término es posterior.

«Burghölzli was a progressive university clinic, under the directorship of Eugen Bleuler. At the end of the nineteenth century, numerous figures attempted to found a new scientific psychology.» — [Shamdasani] describe el Burghölzli que Jung encontró a fines de 1900, clínica universitaria progresista bajo la dirección de Bleuler.

«Thanks to Bleuler, and his predecessor Auguste Forel, psychological research and hypnosis played prominent roles at the Burghölzli.» — [Shamdasani] adjudica a Bleuler y a Forel el peso que la investigación psicológica y la hipnosis tenían en esa clínica.

«Jung’s medical dissertation focused on the psychogenesis of spiritualistic phenomena, in the form of an analysis of his séances with Helene Preiswerk.» — [Shamdasani] identifica el objeto de la tesis médica de Jung: la psicogénesis de los fenómenos espiritistas, analizada sobre sus propias sesiones con Helene Preiswerk.

«I was driven to ask myself in all seriousness: “what is the myth you are living?” I found no answer to this question, and had to admit that I was not living with a myth, or even in a myth, but rather in an uncertain cloud of theoretical possibilities which I was beginning to regard with increasing distrust» — [Shamdasani] cita a Jung planteándose cuál es el mito que vive, y admitiendo que no vivía ninguno sino una nube incierta de posibilidades teóricas.

«So in the most natural way, I took it upon myself to get to know “my” myth, and I regarded this as the task of tasks—for—so I told myself—how could I, when treating my patients, make due allowance for the personal factor, for my personal equation, which is yet so necessary for a knowledge of the other person, if I was unconscious of it?» — [Shamdasani] cita el argumento clínico con que Jung justifica la tarea: sin conocer la propia ecuación personal no puede darse cuenta de ella al tratar a otro.

«The study of myth had revealed to Jung his mythlessness. He then undertook to get to know his myth, his “personal equation.”33 Thus we see that the self-experimentation which Jung undertook was in part a direct response to theoretical questions raised by his research,» — [Shamdasani] fija la tesis del apartado: el autoexperimento respondió en parte a preguntas teóricas de la propia investigación de Jung, no solo a una crisis privada.

«In 1912, Jung had some significant dreams that he did not understand. He gave particular importance to two of these, which he felt showed the limitations of Freud’s conceptions of dreams.» — [Shamdasani] fecha en 1912 los sueños que Jung tuvo por límite de la concepción freudiana del sueño.

«An old Austrian customs guard or someone similar passes by me, lost in thought. Someone says, “that is one who cannot die. He died already 30–40 years ago, but has not yet managed to decompose.”» — [Shamdasani] cita el primero de esos sueños, el del aduanero austriaco muerto hace treinta o cuarenta años que no logra descomponerse.

«Jung found this dream oppressive and bewildering, and Freud was unable to interpret it.» — [Shamdasani] consigna el efecto del sueño y que Freud no supo interpretarlo, que es el punto en que la ruptura se vuelve teórica.

«He added that he thought of the story of the Tabula smaragdina (emerald tablet), the twelve apostles, the signs of the Zodiac, and so on, but that he “could make nothing out of the dream except that there was a tremendous animation of the unconscious.» — [Shamdasani] recoge las asociaciones que Jung ensayó —la Tabula smaragdina, los doce apóstoles, los signos del zodiaco— y su declaración de no haber sacado nada de ellas.

«He argued that there were two basic movements of the libido: extraversion, in which the subject’s interest was oriented toward the outer world, and introversion, in which the subject’s interest was directed inward.» — [Shamdasani] expone la distinción de Jung entre extraversión e introversión como dos movimientos básicos de la libido.

«The psychologies of Freud and Adler were examples of the fact that psychologies often took what was true of their type as generally valid. Hence what was required was a psychology that did justice to both of these types.» — [Shamdasani] refiere el uso polémico que Jung dio a esa distinción: Freud y Adler tomaron por válido en general lo propio de su tipo, y hacía falta una psicología que hiciera justicia a los dos.

«In the following winter I was standing at the window one night and looked North. I saw a blood-red glow, like the flicker of the sea seen from afar, stretched from East to West across the northern horizon. And at that time someone asked me what I thought about world events in the near future. I said that I had no thoughts, but saw blood, rivers of blood.» — [Shamdasani] cita la segunda visión de Jung, el resplandor rojo sobre el horizonte norte y los ríos de sangre, que en el libro precede a la guerra.

«In the years directly preceding the outbreak of war, apocalyptic imagery was widespread in European arts and literature. For example, in 1912, Wassily Kandinsky wrote of a coming universal catastrophe. From 1912 to 1914, Ludwig Meidner painted a series of works known as the apocalyptic landscapes, with scenes of destroyed cities, corpses, and turmoil.» — [Shamdasani] contextualiza esas visiones señalando lo extendida que estaba la imaginería apocalíptica en el arte europeo, con Kandinsky en 1912 y los paisajes apocalípticos de Meidner.

«In 1899, the famous American medium Leonora Piper predicted that in the coming century there would be a terrible war in different parts of the world that would cleanse the world and reveal the truths of spiritualism. In 1918, Arthur Conan Doyle, the spiritualist and author of the Sherlock Holmes stories, viewed this as having been prophetic.» — [Shamdasani] añade el caso espiritista: la predicción de Leonora Piper en 1899 y la lectura profética que Conan Doyle hizo de ella en 1918.

«In Jung’s account of the fantasy on the train in Liber Novus, the inner voice said that what the fantasy depicted would become completely real. Initially, he interpreted this subjectively and prospectively, that is, as depicting the imminent destruction of his world.» — [Shamdasani] describe la primera lectura que Jung dio a la fantasía del tren: subjetiva y prospectiva, la destrucción inminente de su propio mundo.

«Jung came to realize that Transformations and Symbols of the Libido “could be taken as myself and that an analysis of it leads inevitably into an analysis of my own unconscious processes.”48 He had projected his material onto that of Miss Frank Miller, whom he had never met.» — [Shamdasani] refiere el giro que llevó al experimento: Jung leyó su propio libro como material propio proyectado sobre Miss Frank Miller, a quien nunca conoció.

«had been averse to fantasy: “as a form of thinking I held it to be altogether impure, a sort of incestuous intercourse, thoroughly immoral from an intellectual viewpoint.”» — [Shamdasani] cita la aversión previa de Jung a la fantasía, que tenía por comercio incestuoso e inmoral desde el punto de vista intelectual.

«Permitting fantasy in myself had the same effect as would be produced on a man if he came into his workshop and found all the tools flying about doing things independently of his will.”» — [Shamdasani] cita el símil con que Jung describió admitir la fantasía: las herramientas del taller volando y obrando por su cuenta.

«Jung realized that he was studying the myth-creating function of the mind.» — [Shamdasani] nombra el objeto que Jung se atribuyó en el experimento: la función mitopoyética de la mente.

«He was “writing autobiographical material, but not as an autobiography.”» — [Shamdasani] cita la fórmula con que Jung deslindó su escritura de la autobiografía.

«I said to myself, “What is this I am doing, it certainly is not science, what is it?” Then a voice said to me, “That is art.”» — [Shamdasani] cita el episodio de la voz que le dijo que aquello era arte, primera aparición de la figura que Jung llamaría anima.

«He thought that this voice was “the soul in the primitive sense,” which he called the anima (the Latin word for soul).» — [Shamdasani] recoge la identificación que Jung hizo de esa voz con el alma en sentido primitivo, a la que llamó anima.

«He stated that “In putting down all this material for analysis, I was in effect writing letters to my anima, that is part of myself with a different viewpoint from my own.» — [Shamdasani] cita a Jung describiendo su escritura como cartas al anima, parte de sí con otro punto de vista.

«I have previously argued that the woman in question—the only Dutch woman in Jung’s circle at this time—was Maria Moltzer, and that the psychiatrist in question was Jung’s friend and colleague Franz Riklin, who increasingly forsook analysis for painting.» — [Shamdasani] identifica en primera persona, y como argumento suyo anterior, a Maria Moltzer con la voz y a Franz Riklin con el psiquiatra del episodio.

«In 1925, he remarked that this dream “was the beginning of a conviction that the unconscious did not» — [Shamdasani] cita al Jung de 1925 leyendo ese sueño como el comienzo de la convicción de que el inconsciente no consiste solo en materia inerte; la frase sigue en la plana siguiente.

«Maeder was developing Flournoy’s views of the subconscious creative imagination. Jung was working along similar lines, and adopted Maeder’s positions.» — [Shamdasani] sitúa a Jung en la línea de Maeder, que desarrollaba las ideas de Flournoy sobre la imaginación creadora subconsciente.

«alteration of the conception of the dream brought with it an alteration of all other phenomena associated with the unconscious.» — [Shamdasani] mide el alcance de ese cambio: alterar la concepción del sueño alteraba todo lo demás asociado al inconsciente; el troceo corta la frase con el marcador de plana justo antes de *alteration*.

«without a myth “is like one uprooted, having no true link either with the past, or with the ancestral life which continues within him, or yet with contemporary human society.”» — [Shamdasani] cita a Jung sobre el hombre sin mito, desarraigado y sin lazo con el pasado, con la vida ancestral ni con la sociedad de su tiempo.

«As indicated, Jung had had extensive experience studying mediums in trance states, during which they were encouraged to produce waking fantasies and visual hallucinations, and had conducted experiments with automatic writing.» — [Shamdasani] recuerda el entrenamiento previo de Jung con médiums en trance y escritura automática, del que la técnica del experimento deriva.

«Practices of visualization had also been used in various religious traditions. For example, in the fifth of the spiritual exercises of St. Ignatius of Loyola, individuals are instructed on how to “see with the eyes of the imagination the length, breadth and depth of hell,” and to experience this with full sensory immediacy.» — [Shamdasani] emparienta la técnica con la tradición religiosa, y cita el quinto de los ejercicios espirituales de Ignacio de Loyola como instrucción de ver con los ojos de la imaginación.

«Swedenborg also engaged in “spirit writing.” In his spiritual diary, one entry reads: 26 JAN. 1748.—Spirits, if permitted, could possess those who speak with them so utterly, that they would be as though they were entirely in the world; and indeed, in a manner so manifest, that they could communicate their thoughts through their medium, and even by letters; for they have sometimes, and indeed often, directed my hand when writing, as though it were quite their own; so that they thought it was not I, but themselves writing.» — [Shamdasani] añade el precedente de Swedenborg y cita su diario espiritual del 26 de enero de 1748, donde los espíritus le dirigían la mano al escribir.

«From 1909 onward in Vienna, the psychoanalyst Herbert Silberer conducted experiments on himself in hypnagogic states. Silberer attempted to allow images to appear. These images, he maintained, presented symbolic depictions of his previous train of thought.» — [Shamdasani] añade a Silberer y sus autoexperimentos en estados hipnagógicos desde 1909, donde las imágenes le parecían figuración simbólica del pensamiento previo.

«Thus we see that Jung’s procedure closely resembled a number of historical and contemporary practices with which he was familiar.» — [Shamdasani] concluye el argumento del apartado: el procedimiento de Jung se parecía mucho a prácticas históricas y contemporáneas que él conocía, y no fue invención sin precedente.

«In December 1913, he referred to the first of the black books as the “book of my most difficult experiment.”» — [Shamdasani] fecha en diciembre de 1913 la fórmula con que Jung nombró el primero de los Black Books, y que da título al apartado.

«In retrospect, he recalled that his scientific question was to see what took place when he switched off consciousness. The example of dreams indicated the existence of background activity, and he wanted to give this a possibility of emerging, just as one does when taking mescalin.» — [Shamdasani] cita la formulación experimental que Jung dio a su empresa: ver qué ocurre al desconectar la conciencia, dando salida a la actividad de fondo que el sueño evidencia.

«His procedure was clearly intentional—while its aim was to allow psychic contents to appear spontaneously.» — [Shamdasani] señala la paradoja del método sin resolverla: el procedimiento era deliberado y su fin era que los contenidos aparecieran solos.

«From November 1913 to the following July, he remained uncertain of the meaning and significance of his undertaking, and concerning the meaning of his fantasies, which continued to develop.» — [Shamdasani] acota el periodo de incertidumbre de Jung sobre el sentido de lo que estaba haciendo, de noviembre de 1913 al julio siguiente.

«There was a blue sky, like the sea, covered not by clouds but by flat brown clods of earth. It looked as if the clods were breaking apart and the blue water of the sea were becoming visible between them. But the water was the blue sky. Suddenly there appeared from the right a winged being sailing across the sky. I saw that it was an old man with the horns of a bull. He held a bunch of four keys, one of which he clutched as if he were about to open a lock. He had the wings of the kingfisher with its characteristic colors. Since I did not understand this dream image, I painted it in order to impress it upon my memory.» — [Shamdasani] cita el sueño del anciano alado con cuernos de toro y alas de martín pescador, del que sale la figura de Filemón, y la razón que Jung dio para pintarlo.

«While he was painting this image, he found a dead kingfisher (which is very rarely found in the vicinity of Zürich) in his garden by the lake shore.» — [Shamdasani] consigna la coincidencia que Jung refirió —hallar un martín pescador muerto mientras pintaba la imagen— sin calificarla.

«The figure of Philemon first appears in the Black Books on January 27, 1914, but without kingfisher wings.» — [Shamdasani] fecha la primera aparición de Filemón en los Black Books el 27 de enero de 1914, todavía sin las alas de martín pescador.

«To Jung, Philemon represented superior insight, and was like a guru to him.» — [Shamdasani] describe el lugar de Filemón para Jung: visión superior, algo como un gurú.

«It was he who taught me psychic objectivity, the reality of the psyche.» — [Shamdasani] cita a Jung atribuyendo a Filemón la enseñanza de la objetividad psíquica y de la realidad de la psique.

«In the minutes, the reason given for the secession was that Freud had established an orthodoxy that impeded free and independent research.» — [Shamdasani] da la razón que las actas registran para la escisión respecto de Freud: una ortodoxia que impedía la investigación libre.

«He does not refer to his fantasies, and continues to discuss theoretical issues in psychology. The same holds true in his surviving correspondences during this period.78 Each year, he continued his military service duties.79 Thus he maintained his professional activities and familial responsibilities during the day, and dedicated his evenings to his self-explorations.» — [Shamdasani] describe el reparto del día: Jung no aludía a sus fantasías en público, mantenía consulta y familia de día y dedicaba las noches a la exploración de sí.

«The shortcoming of the former was that through tracing things back to antecedent elements, it dealt with only half of the picture, and failed to grasp the living meaning of phenomena.» — [Shamdasani] resume la objeción de Jung al método reductivo: al remitir todo a elementos antecedentes solo cubre la mitad del cuadro y pierde el sentido vivo del fenómeno.

«He argued that in cases of neurosis and psychosis, the unconscious attempted to compensate the one-sided conscious attitude. The unbalanced individual defends himself against this, and the opposites become more polarized.» — [Shamdasani] expone la tesis compensatoria de Jung: el inconsciente compensa la actitud consciente unilateral, y quien se defiende de ello polariza más los opuestos.

«The corrective impulses that present themselves in the language of the unconscious should be the beginning of a healing process, but the form in which they break through makes them unacceptable to consciousness.» — [Shamdasani] cierra esa tesis con su nudo: el impulso correctivo llega en un lenguaje que lo vuelve inaceptable para la conciencia.

«Jung’s new mode of interpretation links back to the symbolic method of Swedenborg’s spiritual hermeneutics.» — [Shamdasani] emparienta el nuevo modo interpretativo de Jung con la hermenéutica espiritual de Swedenborg.

«Jung recalled, “I had the feeling that I was an overcompensated psychosis, and from this feeling I was not released till August 1st 1914.”» — [Shamdasani] cita a Jung diciéndose una psicosis sobrecompensada hasta el 1 de agosto de 1914, la fecha en que estalla la guerra. El troceo une el guion de corte y el verbatim sale *overcompensated* donde el volumen imprime *over-compensated*.

«As a psychiatrist I became worried, wondering if I was not on the way to “doing a schizophrenia,” as we said in the language of those days . . . I was just preparing a lecture on schizophrenia to be delivered at a congress in Aberdeen, and I kept saying to myself: “I’ll be speaking of myself! Very likely I’ll go mad after reading out this paper.”» — [Shamdasani] cita el temor clínico de Jung a estar haciéndose una esquizofrenia mientras preparaba una conferencia sobre esquizofrenia.

«It is no exaggeration to say that had war not been declared, Liber Novus would in all likelihood not have been compiled.» — [Shamdasani] hace depender la existencia misma del libro del estallido de la guerra.

«Thus he took the outbreak of the war as showing him that his fear of going mad was misplaced.» — [Shamdasani] refiere la lectura que Jung dio a la guerra: prueba de que su temor a enloquecer estaba fuera de sitio, porque las visiones no eran solo suyas.

«the reason why the involvement looks very much like a psychosis is that the patient is integrating the same fantasy-material to which the insane person falls victim because he cannot integrate it but is swallowed up by it.”» — [Shamdasani] cita la distinción con que Jung separó su caso del del enfermo: el mismo material fantástico, integrado por uno y devorando al otro.

«It is important to note that there are around twelve separate fantasies that Jung may have regarded as precognitive:» — [Shamdasani] cuantifica lo que Jung pudo tener por precognitivo: alrededor de doce fantasías separadas.

«Jung now commenced writing the draft of Liber Novus. He faithfully transcribed most of the fantasies from the Black Books, and to each of these added a section explaining the significance of each episode, combined with a lyrical elaboration.» — [Shamdasani] describe la operación que produce el libro: transcribir las fantasías de los Black Books y añadir a cada una una sección de significado y elaboración lírica, que es la segunda capa.

«Word-by-word comparison indicates that the fantasies were faithfully reproduced, with only minor editing and division into chapters.» — [Shamdasani] declara el cotejo palabra por palabra en que apoya la fidelidad de la transcripción, con edición mínima y división en capítulos.

«Jung maintained a “fidelity to the event,” and what he was writing was not to be mistaken for a fiction.» — [Shamdasani] nombra el criterio de Jung —fidelidad al suceso— y advierte que lo escrito no debe tomarse por ficción.

«The draft begins with the address to “My friends,” and this phrase occurs frequently.» — [Shamdasani] señala que el borrador se abre dirigiéndose a unos amigos y que la fórmula se repite, dato que Hoerni usa como prueba de que el libro no era secreto.

«the records of an experiment, while the latter is addressed to a public and presented in a form to be read by others.» — [Shamdasani] deslinda los Black Books de Liber Novus por su destinatario: registro de experimento frente a texto dirigido a un público.

«In November 1914, Jung closely studied Nietzsche’s Thus Spoke Zarathustra, which he had first read in his youth. He later recalled, “then suddenly the spirit seized me and carried me to a desert country in which I read Zarathustra.”» — [Shamdasani] fecha en noviembre de 1914 el estudio del Zaratustra de Nietzsche y cita el recuerdo de Jung sobre el espíritu que lo llevó a un país desierto.

«Like Nietzsche in Zarathustra, Jung divided the material into a series of books comprised of short chapters. But whereas Zarathustra proclaimed the death of God, Liber Novus depicts the rebirth of God in the soul.» — [Shamdasani] compara y opone: la división en libros y capítulos cortos viene de Zaratustra, pero donde Nietzsche proclama la muerte de Dios, Liber Novus figura su renacimiento en el alma.

«There are also indications that he read Dante’s Commedia at this time, which also informs the structure of the work.93 Liber Novus depicts Jung’s descent into Hell. But whereas Dante could utilize an established cosmology, Liber Novus is an attempt to shape an individual cosmology.» — [Shamdasani] añade la Commedia de Dante como segundo modelo estructural, con la diferencia de que Dante disponía de una cosmología establecida y Liber Novus intenta formar una individual.

«The role of Philemon in Jung’s work has analogies to that of Zarathustra in Nietzsche’s work and Virgil in Dante’s.» — [Shamdasani] hace de Filemón el equivalente funcional de Zaratustra en Nietzsche y de Virgilio en Dante.

«In the Draft, about 50 percent of the material is drawn directly from the Black Books. There are about thirty-five new sections of commentary.» — [Shamdasani] cuantifica el Draft: la mitad del material viene de los Black Books y hay unas treinta y cinco secciones nuevas de comentario.

«He does not try to interpret his fantasies reductively, but sees them as depicting the functioning of general psychological principles in him (such as the relation of introversion to extraversion, thinking and pleasure, etc.), and as depicting literal or symbolic events that are going to happen.» — [Shamdasani] describe cómo lee Jung sus propias fantasías: no reductivamente, sino como figuración de principios psicológicos generales y de lo que va a suceder.

«In a critical sense, Liber Novus does not require supplemental interpretation, for it contains its own interpretation.» — [Shamdasani] sostiene que el libro no pide interpretación suplementaria porque lleva la suya dentro, que es la razón de la segunda capa.

«He had self-consciously chosen to leave scholarship to one side. Yet the fantasies and the reflections on them in Liber Novus are those of a scholar and, indeed, much of the self-experimentation and the composition of Liber Novus took place in his library. It is quite possible that he might have added references if he had decided to publish the work.» — [Shamdasani] explica la falta de aparato erudito en el texto por una decisión de Jung, y deja abierto que habría añadido referencias de haber publicado.

«Judging from the annotations, it appears that he gave it to someone (the handwriting is not that of Emma Jung, Toni Wolff, or Maria Moltzer) to read, who then commented on Jung’s editing, indicating that some sections which he had intended to cut should be retained.» — [Shamdasani] infiere de las anotaciones un lector externo, y declara el límite de la inferencia: la letra no es de Emma Jung, ni de Toni Wolff, ni de Maria Moltzer.

«Jung titled the first book “The Way of What Is to Come,” and placed beneath this some citations from the book of Isaiah and from the gospel according to John.» — [Shamdasani] consigna el título del primer libro y los epígrafes de Isaías y Juan que Jung puso debajo.

«The cuts and alterations were predominantly to the second layer of interpretation and elaboration, and not to the fantasy material itself, and mainly consisted in shortening the text.» — [Shamdasani] localiza los recortes de Jung en la segunda capa de interpretación y no en el material de fantasía.

«Jung’s library today contains few books on modern art, though some books were probably dispersed over the years. He possessed a catalogue of the graphic works of Odilon Redon, as well as a study of him.98 He likely encountered Redon’s work when he was in Paris. Strong echoes of the symbolist movement appear in the paintings in Liber Novus.» — [Shamdasani] mide la relación de Jung con el arte moderno por su biblioteca —poco, salvo Redon— y registra ecos simbolistas en las pinturas del libro.

«In April 1914, he visited Ravenna, and the frescos and mosaics there made a deep impression on him. These works seemed to have had an impact on his paintings: the use of strong colors, mosaic-like forms, and twodimensional figures without the use of perspective.» — [Shamdasani] atribuye a los frescos y mosaicos de Rávena, visitados en abril de 1914, el color fuerte, las formas de mosaico y la ausencia de perspectiva de las pinturas. El troceo une el guion de corte y el verbatim sale *twodimensional* donde el volumen imprime *two-dimensional*.

«Given the lack of evidence of extended study, Jung’s knowledge of modern art probably derived more immediately from direct acquaintance.» — [Shamdasani] acota su propia atribución: a falta de prueba de estudio, el conocimiento de Jung del arte moderno vendría del trato directo.

«The critical element that separated Jung’s pictorial work from that of the Dadaists was his overriding emphasis on meaning and signification.» — [Shamdasani] fija la diferencia entre la obra pictórica de Jung y la dadaísta en el peso que Jung da al sentido y a la significación.

«Thus his refusal to consider his works as art occurs in a context where there were quite real possibilities for him to have taken this route.» — [Shamdasani] subraya que la negativa de Jung a tener su obra por arte se da en un contexto donde esa vía le estaba realmente abierta.

«He discussed Riklin, one of Augusto Giacometti’s students, and observed that while his smaller works had a certain aesthetic value, his larger ones simply dissolved. Indeed, he vanished wholly in his art, rendering him utterly intangible. His work was like a wall over which water rippled.» — [Shamdasani] recoge el juicio de Jung sobre la pintura de Riklin, con el símil del muro por el que corre el agua y la conclusión de que ya no podía analizar.

«In 1918, Jung criticized the Dada movement in a Swiss review, which did not escape the attention of the Dadaists.» — [Shamdasani] fecha en 1918 la crítica de Jung al dadaísmo en una revista suiza, que no pasó inadvertida a los dadaístas.

«However, relations between Jung’s circle and some of the Dadaists became more strained.» — [Shamdasani] consigna el enfriamiento consiguiente entre el círculo de Jung y parte de los dadaístas.

«But art and science were no more than the servants of the creative spirit, which is what must be served.» — [Shamdasani] cita la subordinación que Jung establecía: arte y ciencia como siervos del espíritu creador, que es lo que hay que servir.

«Thus, the making of Liber Novus was by no means a peculiar and idiosyncratic activity, nor the product of a psychosis.» — [Shamdasani] enuncia la tesis del apartado contra la lectura patológica del libro.

«This correspondence gives no direct signs of Jung’s self-experimentation, and indicates that theories he developed during this period did not stem solely from his active imaginations, but also in part consisted of conventional psychological theorizing.» — [Shamdasani] usa la correspondencia como contrapeso: las teorías de esos años no salieron solo de las imaginaciones activas, sino en parte de teorización psicológica convencional.

«I was frequently so wrought up that I had to eliminate the emotions through yoga practices. But since it was my purpose to learn what was going on within myself, I would do them only until I had calmed myself and could take up again the work with the unconscious.”» — [Shamdasani] cita a Jung sobre el uso que dio al yoga: calmar la emoción lo justo para volver al trabajo con el inconsciente, no para apartarse de él.

«Consequently, he noted, “that I was able to endure at all was a case of brute force.”» — [Shamdasani] cita el juicio de Jung sobre su propia resistencia en aquellos años.

«For Jung, the aim of the Club was to study the relation of individuals to the group, and to provide a naturalistic setting for psychological observation to overcome the limitations of one-to-one analysis, as well as to provide a venue where patients could learn to adapt to social situations.» — [Shamdasani] da el fin que Jung asignaba al Club Psicológico: observar la relación del individuo con el grupo en un marco naturalista, más allá del análisis a solas.

«He encouraged his patients to embark upon similar processes of self-experimentation.» — [Shamdasani] consigna que Jung llevó a sus pacientes al mismo procedimiento.

«In those early days, when one arrived for the analytic hour, the so-called “red book” often stood open on an easel. In it Dr. Jung had been painting or had just finished a picture.» — [Shamdasani] cita el testimonio de una analizanda sobre el libro rojo abierto en un caballete durante la hora analítica.

«The careful and precise work he put into these pictures and into the illuminated text that accompanied them were a testimony to the importance of this undertaking. The master thus demonstrated to the student that psychic development is worth time and effort.» — [Shamdasani] cita el mismo testimonio leyendo el cuidado del trabajo como demostración del maestro al alumno de que el desarrollo psíquico vale el tiempo.

«Far from being a solitary endeavor, Jung’s confrontation with the unconscious was a collective one, in which he took his patients along with him. Those around Jung formed an avant-garde group engaged in a social experiment that they hoped would transform their lives and the lives of those around them.» — [Shamdasani] sostiene que la confrontación con el inconsciente fue colectiva y no solitaria, con un grupo de vanguardia empeñado en un experimento social.

«Amid the unprecedented carnage of the war, the theme of the return of the dead was widespread, such as in Abel Gance’s film J’accuse.123 The death toll also led to a revival of interest in spiritualism.» — [Shamdasani] sitúa el retorno de los muertos como tema de época, con el J'accuse de Abel Gance y el rebrote espiritista que trajo la mortandad.

«After nearly a year, Jung began to write again in the Black Books in 1915, with a further series of fantasies. He had already completed the handwritten draft of Liber Primus and Liber Secundus.» — [Shamdasani] fecha en 1915 la reanudación de los Black Books, con el borrador manuscrito de los dos primeros libros ya terminado.

«At the beginning of 1916, Jung experienced a striking series of parapsychological events in his house. In 1923, he narrated this event to Cary de Angulo (later Baynes). She recorded it as follows:» — [Shamdasani] introduce los sucesos parapsicológicos de comienzos de 1916 en casa de Jung por la vía de un testimonio de segunda mano, narrado a Cary de Angulo en 1923.

«The dead had appeared in a fantasy on January 17, 1914, and had said that they were about to go to Jerusalem to pray at the holiest graves.127 Their trip had evidently not been successful.» — [Shamdasani] enlaza la aparición de los muertos de enero de 1914, que iban a orar a Jerusalén, con su regreso: el viaje no había servido.

«The Septem Sermones ad Mortuos is a culmination of the fantasies of this period. It is a psychological cosmology cast in the form of a gnostic creation myth.» — [Shamdasani] define los Septem Sermones ad Mortuos como cosmología psicológica vertida en forma de mito gnóstico de creación.

«In Jung’s fantasies, a new God had been born in his soul, the God who is the son of the frogs, Abraxas. Jung understood this symbolically. He saw this figure as representing the uniting of the Christian God with Satan, and hence as depicting a transformation of the Western God-image.» — [Shamdasani] expone lo que Jung leía en Abraxas, el dios hijo de las ranas: unión del Dios cristiano con Satán y transformación de la imagen occidental de Dios.

«Not until 1952 in Answer to Job did Jung elaborate on this theme in public.» — [Shamdasani] mide la distancia entre lo escrito en privado en 1916 y su exposición pública en Answer to Job, de 1952.

«Jung had studied the literature on Gnosticism in the course of his preparatory reading for Transformations and Symbols of the Libido. In January and October 1915, while on military service, he studied the works of the Gnostics.» — [Shamdasani] fecha las lecturas gnósticas de Jung: primero como preparación de Transformations and Symbols of the Libido, y en enero y octubre de 1915 durante el servicio militar.

«He added the following inscription under the title: “The seven instructions of the dead. Written by Basilides in Alexandria, the city where the East touches the West.”» — [Shamdasani] cita la inscripción pseudoepigráfica que Jung puso a los Sermones, atribuyéndolos a Basílides de Alejandría.

«He then had this privately printed, adding to the inscription: “Translated from the Greek original into German.”» — [Shamdasani] añade la segunda capa del pseudoepígrafe en el impreso privado: el texto se presenta como traducido del griego.

«This legend indicates the stylistic effects on Jung of late-nineteenth-century classical scholarship. He recalled that he wrote it on the occasion of the founding of the Psychological Club, and regarded it as a gift to Edith Rockefeller McCormick for founding the Club.» — [Shamdasani] lee la leyenda como efecto de estilo de la filología clásica decimonónica, y consigna que Jung tuvo el texto por regalo a Edith Rockefeller McCormick.

«I could not presume to put my name to it, but chose instead the name of one of those great minds of the early Christian era which Christianity obliterated.» — [Shamdasani] cita la razón que Jung dio a Maeder para no firmar los Sermones y tomar el nombre de un pensador del cristianismo primitivo borrado por el cristianismo.

«Patients were instructed on how to conduct active imagination, to hold inner dialogues, and to paint their fantasies. He took his own experiences as paradigmatic. In the 1925 seminar, he noted: “I drew all my empirical material from my patients, but the solution of the problem I drew from the inside, from my observations of the unconscious processes.”» — [Shamdasani] describe lo que Jung pedía a sus pacientes —imaginación activa, diálogos interiores, pintar las fantasías— y cita del seminario de 1925 el reparto que declaraba: el material de los pacientes, la solución desde dentro.

«The Systema Munditotius is a pictorial cosmology of the Sermones.» — [Shamdasani] identifica el Systema Munditotius como la cosmología en imagen de los Septem Sermones.

«Between June 11 and October 2, 1917, Jung was on military service in Chateau d’Oex, as commander of the English prisoners of war.» — [Shamdasani] fecha el servicio militar de Jung en Château d'Oex en 1917, al mando de los prisioneros ingleses.

«He concluded the letter by writing: “With us everything is unchanged and quiet. Everything else is swallowed by the war. The psychosis is still increasing, going on and on.”» — [Shamdasani] cita el cierre de una carta de Jung a Smith Ely Jelliffe donde llama psicosis a la guerra y la ve en aumento.

«From the beginning of August to the end of September, he drew a series of twenty-seven mandalas in pencil in his army notebook, which he preserved.» — [Shamdasani] cuantifica la serie de mandalas del cuaderno militar: veintisiete a lápiz entre agosto y septiembre de 1917.

«At first, he did not understand these mandalas, but felt that they were very significant. From August 20, he drew a mandala on most days. This gave him the feeling that he had taken a photograph of each day and he observed how these mandalas changed.» — [Shamdasani] describe la práctica diaria y la imagen con que Jung la explicaba: como una fotografía de cada día, cuyos cambios observaba.

«In this letter, this woman, that is, Moltzer, argued that “the fantasies stemming from the unconscious possessed artistic worth and should be considered as art.”» — [Shamdasani] identifica a Moltzer como autora de la carta que sostenía que las fantasías del inconsciente tenían valor artístico.

«Jung found this troubling because it was not stupid, and, moreover, modern painters were attempting to make art out of the unconscious. This awoke a doubt in him whether his fantasies were really spontaneous and natural.» — [Shamdasani] consigna por qué le inquietó la objeción: no era tonta, y los pintores modernos estaban haciendo arte del inconsciente, lo que puso en duda la espontaneidad de sus propias fantasías.

«Only now did I gradually come to what the mandala really is: “Formation, transformation, the eternal mind’s eternal recreation.” And that is the self, the wholeness of the personality, which, when everything is well, is harmonious, but which can bear no self deception. My mandala images were cryptograms on the state of my self, which were delivered to me each day.» — [Shamdasani] cita a Jung identificando el mandala con el sí-mismo, totalidad de la personalidad que no soporta autoengaño, y a sus mandalas con criptogramas diarios de su estado.

«The second line is from Goethe’s Faust. Mephistopheles is addressing Faust, giving him directions to the realm of the Mothers:» — [Shamdasani] localiza la fórmula que Jung usa para el mandala en el Fausto de Goethe, en boca de Mefistófeles dando ruta al reino de las Madres.

«The letter in question has not come to light. However, in a subsequent unpublished letter from November 21, 1918, while at Chateau d’Oex, Jung wrote that “M. Moltzer has again disturbed me with letters.”» — [Shamdasani] declara el límite documental —la carta de Moltzer no ha aparecido— y aporta en su lugar una carta inédita de Jung de noviembre de 1918.

«He noted that it was during this period that a living idea of the self first came to him: “The self, I thought, was like the monad which I am, and which is my world. The mandala represents this monad, and corresponds to the microcosmic nature of the soul.”» — [Shamdasani] cita la formulación de Jung del sí-mismo como mónada, con el mandala por figura y correspondencia con la naturaleza microcósmica del alma.

«At this point, he did not know where this process was leading, but he began to grasp that the mandala represented the goal of the process» — [Shamdasani] sitúa el punto en que Jung empezó a entender el mandala como meta del proceso, sin saber todavía a dónde iba.

«Philemon stressed the compensatory nature of his teaching: he deliberately stressed precisely those conceptions that the dead lacked.» — [Shamdasani] explica el criterio de la enseñanza de Filemón a los muertos: subrayaba deliberadamente lo que a ellos les faltaba.

«Scrutinies effectively forms Liber Tertius of Liber Novus. The complete sequence of the text would thus be: Liber Primus: The Way of What Is to Come Liber Secundus: The Images of the Erring Liber Tertius: Scrutinies» — [Shamdasani] ordena la obra en tres libros y hace de Scrutinies el Liber Tertius.

«He portrayed his realization of the significance of the self, which took place in the autumn of 1917, in Scrutinies.143 This contains Jung’s vision of the reborn God, culminating in the portrayal of Abraxas.» — [Shamdasani] fecha en el otoño de 1917 la comprensión del sí-mismo y la sitúa en Scrutinies, con la visión del dios renacido que culmina en Abraxas.

«He realized that much of what was given to him in the earlier part of the book (that is, Liber Primus and Liber Secundus) was actually given to him by Philemon.144 He realized that there was a prophetic wise old man in him, to whom he was not identical. This represented a critical disidentification.» — [Shamdasani] describe el giro que llama desidentificación crítica: Jung reconoció que buena parte de lo recibido en los dos primeros libros venía de Filemón, un viejo sabio profético con el que no se identificaba.

«The work on the unconscious has to happen first and foremost for us ourselves. Our patients profit from it indirectly. The danger consists in the prophet’s delusion which often is the result of dealing with the unconscious.» — [Shamdasani] cita una carta de Jung a J. B. Lang de enero de 1918 sobre el peligro del trabajo con el inconsciente: el delirio del profeta.

«That is never appropriate even though we are forced to acknowledge [the existence of] the irrational.» — [Shamdasani] cita en la misma carta la advertencia de Jung contra despreciar razón y ciencia, incluso forzado a reconocer lo irracional; los corchetes son suplemento del editor.

«Jung’s critical task in “working over” his fantasies was to differentiate the voices and characters. For example, in the Black Books, it is Jung’s “1” who speaks the Sermones to the dead. In Scrutinies, it is not Jung’s “1” but Philemon who speaks them.» — [Shamdasani] identifica la tarea de la reelaboración —diferenciar las voces— con un ejemplo medido: los Sermones que en los Black Books dice el yo de Jung pasan en Scrutinies a boca de Filemón.

«In the Black Books, the main figure with whom Jung has dialogues is his soul. In some sections of Liber Novus, this is changed to the serpent and the bird. In one conversation in January 1916, his soul explained to him that when the Above and Below are not united, she falls into three parts—a serpent, the human soul, and the bird or heavenly soul, which visits the Gods. Thus Jung’s revision here can be seen to reflect his understanding of the tripartite nature of his soul.» — [Shamdasani] documenta otro desplazamiento de voces: el interlocutor que en los Black Books es el alma pasa en Liber Novus a la serpiente y al pájaro, según la explicación que la propia alma le dio sobre su naturaleza tripartita.

«During this period, Jung continued transcribing the Draft into the calligraphic volume and adding paintings.» — [Shamdasani] consigna la labor paralela de esos años: pasar el borrador al volumen caligráfico y añadir pinturas.

«My material is very voluminous, very complicated, and in part very graphic, up to almost completely worked through clarifications. But what I completely lack is comparative modern material.» — [Shamdasani] cita a Jung declarando lo que le faltaba pese al volumen de su material propio: material moderno comparable.

«Jung held that the significance of these fantasies was due to the fact that they stemmed from the mythopoeic imagination which was missing in the present rational age.» — [Shamdasani] da la razón por la que Jung tenía esas fantasías por significativas: proceden de la imaginación mitopoyética que la época racional ha perdido.

«The task of individuation lay in establishing a dialogue with the fantasy figures—or contents of the collective unconscious— and integrating them into consciousness, hence recovering the value of the mythopoeic imagination which had been lost to the modern age, and thereby reconciling the spirit of the time with the spirit of the depth.» — [Shamdasani] define la individuación como diálogo con las figuras de la fantasía y su integración en la conciencia, recobrando el valor de la imaginación mitopoyética.

«On January 16, 1916, Jung drew a mandala in the Black Books (see Appendix A). This was the first sketch of the “Systema» — [Shamdasani] fecha el 16 de enero de 1916 el primer mandala de Jung, primer boceto del Systema Munditotius; el nombre se completa en el renglón siguiente.

«On the back of it, he wrote in English: “This is the first mandala I constructed in the year 1916, wholly unconscious of what it meant.”» — [Shamdasani] cita la nota que Jung escribió en inglés al dorso de ese mandala, declarándose entonces inconsciente de su sentido.

«He noted that when individuals annexed the contents of the collective psyche and regarded them as personal attributes, they experienced extreme states of superiority and inferiority.» — [Shamdasani] expone la tesis de Jung sobre lo que ocurre al anexar contenidos de la psique colectiva como atributos personales: estados extremos de superioridad e inferioridad.

«Jung wrote that it was a difficult task to differentiate the personal and collective psyche.» — [Shamdasani] recoge la dificultad que Jung declaraba en esa tarea de deslinde entre psique personal y colectiva.

«When one analyzed this, the personality dissolved into the collective psyche, which resulted in the release of a stream of fantasies: “All the treasures of mythological thinking and feeling are unlocked.”» — [Shamdasani] cita lo que Jung veía seguir al análisis de ese estado: la personalidad se disuelve en la psique colectiva y se abre el torrente de lo mitológico.

«Two possibilities arose: one could attempt to regressively restore persona and return to the prior state, but it was impossible to get rid of the unconscious.» — [Shamdasani] enumera las dos salidas que Jung veía, y el límite de la primera: restaurar la persona no quita de encima al inconsciente.

«there was a third way: the hermeneutic treatment of creative fantasies. This resulted in a synthesis of the individual with the collective psyche, which revealed the individual lifeline.» — [Shamdasani] nombra la tercera vía de Jung —tratamiento hermenéutico de las fantasías creadoras— y su resultado, la síntesis del individuo con la psique colectiva.

«Jung introduced the notion of the anima, as a counterpart to that of the persona. He regarded both of these as “subject-imagoes.” Here, he defined the anima as “how the subject is seen by the collective unconscious.”» — [Shamdasani] fecha la introducción del anima como contrapartida de la persona y da la definición de entonces: cómo ve el inconsciente colectivo al sujeto.

«The first was titled “Adaptation.” This took two forms: adaptation to outer and inner conditions. The “inner” was understood to designate the unconscious. Adaptation to the “inner” led to the demand for individuation, which was contrary to adaptation to others.» — [Shamdasani] resume la conferencia de Jung sobre la adaptación: la adaptación a lo interior deriva en exigencia de individuación, contraria a la adaptación a los demás.

«Answering this demand and the corresponding break with conformity led to a tragic guilt that required expiation and called for a new “collective function,” because the individual had to produce values that could serve as a substitute for his absence from society.» — [Shamdasani] expone la culpa trágica que Jung veía en esa ruptura con la conformidad, y la obligación de crear valores que la reparen.

«Those who were insufficiently creative should rather reestablish collective conformity with a society. The individual had not only to create new values, but also socially recognizable ones, as society had a “right to expect realizable values.”» — [Shamdasani] recoge el límite que Jung ponía a su propia doctrina: quien no sea bastante creador debe volver a la conformidad, y la sociedad tiene derecho a esperar valores realizables.

«This led to a dilemma: would the form in which Jung embodied these new values in Liber Novus be socially acceptable and recognizable?» — [Shamdasani] devuelve la exigencia sobre el propio libro: si la forma en que Jung encarnó esos valores nuevos sería socialmente reconocible.

«This commitment to the demands of society separated Jung from the anarchism of the Dadaists.» — [Shamdasani] usa ese compromiso con la sociedad para separar a Jung del anarquismo dadaísta.

«He argued that individuation and collectivity were a pair of opposites related by guilt.» — [Shamdasani] cita el par de opuestos que Jung enlazaba por la culpa: individuación y colectividad.

«Through the process of imitation, one could gain access to values that were one’s own. In analysis, “Through imitation the patient learns individuation, because it reactivates his own values.”» — [Shamdasani] refiere el papel que Jung daba a la imitación en el análisis: reactiva los valores propios del paciente.

«The claim that this process evoked the patient’s preexisting values was a counter to the charge of suggestion.» — [Shamdasani] señala la función polémica de esa tesis: responder a la acusación de sugestión.

«Jung noted that the new attitude gained from analysis became obsolete. Unconscious materials were needed to supplement the conscious attitude, and to correct its one-sidedness. But because energy tension was low in sleep, dreams were inferior expressions of unconscious contents.» — [Shamdasani] recoge dos observaciones de Jung: la actitud ganada en el análisis se vuelve obsoleta, y el sueño es expresión inferior de lo inconsciente por la baja tensión energética.

«Jung noted that after one had analyzed and integrated the contents of the personal unconscious, one came up against mythological fantasies that stemmed from the phylogenetic layer of the unconscious.» — [Shamdasani] marca el punto en que la fantasía mitológica del estrato filogenético aparece: después de integrar lo personal.

«Jung argued that one needed to separate oneself from the unconscious by presenting it visibly as something separate from one. It was vital to differentiate the I from the non-I, namely, the collective psyche or absolute unconscious.» — [Shamdasani] expone la operación que Jung prescribía: presentar el inconsciente visiblemente como algo separado para poder distinguir el yo del no-yo.

«To do this, “man must necessarily stand upon firm feet in his I-function; that is, he must fulfil his duty toward life completely, so that he may in every respect be a vitally living member of society.”» — [Shamdasani] cita la condición que Jung ponía a esa operación: pies firmes en la función del yo y cumplimiento del deber con la vida.

«He described these “dominants” as “the ruling powers, the Gods, that is, images of dominating laws and principles, average regularities in the sequence of images, that the brain has received from the sequence of secular processes.”» — [Shamdasani] cita la definición junguiana de las dominantes como potencias regentes, dioses, imágenes de leyes y principios sedimentados en el cerebro.

«Particularly important was the “detachment of the mythological or collective psychological contents from the objects of consciousness, and their consolidation as psychological realities outside the individual psyche.”» — [Shamdasani] destaca la operación que Jung tenía por decisiva: desprender los contenidos colectivos de los objetos de la conciencia y consolidarlos como realidades psicológicas fuera de la psique individual.

«Jung argued that the era of reason and skepticism inaugurated by the French Revolution had repressed religion and irrationalism.» — [Shamdasani] recoge el diagnóstico histórico de Jung: la era de la razón abierta por la Revolución Francesa reprimió religión e irracionalismo.

«He borrowed the term “godlikeness” from Goethe and Alfred Adler to characterize this state, which arose from fusing the» — [Shamdasani] da la procedencia del término con que Jung nombraba ese estado, Goethe y Alfred Adler; la frase se corta en el límite de chunk del troceo.

«The notion that these figures had a psychological reality in their own right, and were not merely subjective figments, was the main lesson that he attributed to» — [Shamdasani] enuncia lo que Jung sacó de la figura de Elías y que llamaba objetividad psíquica: esas figuras tienen realidad psicológica propia y no son invenciones subjetivas.

«he differentiated two layers of the unconscious. The first, the personal unconscious, consisted in elements acquired during one’s lifetime, together with elements that could equally well be conscious.149 The second was the impersonal unconscious or collective psyche.150 While consciousness and the personal unconscious were developed and acquired in the course of one’s lifetime, the collective psyche was inherited.» — [Shamdasani] expone la distinción de estratos de 1916: el inconsciente personal, adquirido en vida, y la psique colectiva, heredada.

«It was thus a historical necessity to acknowledge the irrational as a psychological factor.» — [Shamdasani] recoge la conclusión que Jung sacaba de ese diagnóstico: reconocer lo irracional como factor psicológico era necesidad histórica.

«He noted that it was a common development that the psychological characteristics of the types were pushed to extremes.» — [Shamdasani] refiere la observación de Jung sobre el extremarse de los rasgos de cada tipo psicológico.

«By what he termed the law of enantiodromia, or the reversal into the opposite, the other function entered in, namely, feeling for the introvert, and thinking for the extravert.» — [Shamdasani] expone la ley de enantiodromía tal como Jung la aplicaba a los tipos: la función contraria entra en juego, el sentimiento en el introvertido y el pensamiento en el extravertido.

«The unconscious contained the wisdom and experience of untold ages, and thus formed an unparalleled guide.» — [Shamdasani] cita el papel de guía sin par que Jung atribuía al inconsciente por contener la sabiduría de edades incontables.

«He concluded the essay by indicating the personal and experiential nature of his new conceptions: “Our age is seeking a new spring of life. I found one and drank of it and the water tasted good.”» — [Shamdasani] señala el carácter experiencial de las nuevas nociones de Jung citando el cierre del ensayo, donde dice haber bebido de esa fuente.

«By contrast, Jung argued, “I am of the opinion that the union of rational and irrational truth is to be found not so much in art as in the symbol per se; for it is the essence of the symbol to contain both the rational and irrational.”» — [Shamdasani] cita la objeción de Jung a poner en el arte la unión de lo racional y lo irracional: la pone en el símbolo, cuya esencia es contener ambos.

«Symbols, he maintained, stemmed from the unconscious, and the creation of symbols was the most important function of the unconscious.» — [Shamdasani] recoge la tesis de Jung sobre la creación de símbolos como función más importante del inconsciente.

«What was required now was the “remolding of our views in accordance with the active forces of the unconscious.”» — [Shamdasani] cita el programa que Jung enunciaba: remodelar las propias concepciones conforme a las fuerzas activas del inconsciente.

«the individual may feel disorientated, but the state is not pathological.» — [Shamdasani] recoge el deslinde con que Jung separaba la desorientación del proceso y la patología.

«Inasmuch as the I is only the center of my field of consciousness, it is not identical with the totality of my psyche, being merely a complex among other complexes.» — [Shamdasani] cita la tesis de Jung sobre el yo como centro del campo de conciencia y no como totalidad de la psique: un complejo entre otros.

«He developed and expanded the themes articulated in these papers in 1921 in Psychological Types.» — [Shamdasani] sitúa en Psychological Types, de 1921, el desarrollo público de esos temas.

«He argued that the soul possessed qualities that were complementary to the persona, containing those qualities that the conscious attitude lacked. This complementary character of the soul also affected its sexual character, so that a man had a feminine soul, or anima, and a woman had a masculine soul, or animus.173 This corresponded to the fact that men and women had both masculine and feminine traits. He also noted that the soul gave rise to images that were assumed to be worthless from the rational perspective.» — [Shamdasani] expone la complementariedad que Jung veía entre alma y persona, y que el alma da imágenes que la razón tiene por inservibles.

«For it to succeed, psychology had to distinguish itself clearly from art, philosophy, and religion.» — [Shamdasani] consigna la exigencia de deslinde que Jung ponía a la psicología frente al arte, la filosofía y la religión.

«[Soul:] You should listen: to no longer be a Christian is easy. But what next? For more is yet to come. Everything is waiting for you. And you? You remain silent and have nothing to say. But you should speak. Why have you received the revelation? You should not hide it. You concern yourself with the form? Is the form important, when it is a matter of revelation?» — [Shamdasani] cita el diálogo del Black Book en que el alma le reprocha a Jung callar y preocuparse por la forma cuando se trata de una revelación.

«[I:] But you are not thinking that I should publish what I have written? That would be a misfortune. And who would understand it?» — [Shamdasani] cita la resistencia del yo de Jung en ese mismo diálogo: publicar sería una desgracia y nadie lo entendería.

«[Soul:] This right comes to me because I serve you and your calling. I could just as well say, you came first, but above all» — [Shamdasani] cita al alma fundando su derecho a mandar en que sirve a Jung y a su vocación; la frase sigue en la plana siguiente.

«[Soul:] The new religion and its proclamation. [I:] Oh God, how should I do this? [Soul:] Do not be of such little faith. No one knows it as you do. There is no one who could say it as well as you could. [I:] But who knows, if you are not lying?» — [Shamdasani] cita al alma nombrando la vocación de Jung —la nueva religión y su proclamación— y la desconfianza inmediata con que él responde.

«His soul here pointedly urged him to publish his material, at which he balked.» — [Shamdasani] glosa ese diálogo como una exhortación del alma a publicar ante la cual Jung se plantó.

«Three days later, his soul informed him that the new religion “expresses itself only in the transformation of human relations. Relations do not let themselves be replaced by the deepest knowledge. Moreover a religion does not consist only in knowledge, but at its visible level in a new ordering of human affairs.» — [Shamdasani] cita, tres días después, al alma acotando qué es esa religión: transformación de las relaciones humanas y nuevo orden de los asuntos humanos, no solo conocimiento.

«You know everything that is to be known about the manifested revelation, but you do not yet live everything that is to be lived at this time.”» — [Shamdasani] cita al alma poniendo la distinción entre saber la revelación y vivirla.

«I can fully understand and accept this. However, it is dark to me, how the knowledge could be transformed into life. You must teach me this.” His soul said, “There is not much to say about this. It is not as rational as you are inclined to think. The way is symbolic.”» — [Shamdasani] cita la réplica del yo de Jung pidiendo que le enseñen a transformar saber en vida, y la respuesta del alma: no es tan racional como él cree, la vía es simbólica.

«Thus the task confronting Jung was how to realize and embody what he had learned through his self-investigation into life.» — [Shamdasani] formula la tarea que sale de ahí: realizar y encarnar en la vida lo aprendido en la investigación de sí.

«psychology, while providing an affirmation of the religious attitude, did not succumb to becoming a creed.» — [Shamdasani] fija el equilibrio que Jung buscaba: afirmar la actitud religiosa sin que la psicología se volviera un credo.

«He held that these works stemmed from the collective unconscious. In such instances, the creative process consisted in the unconscious activation of an archetypal image.» — [Shamdasani] expone la teoría junguiana de la obra visionaria: procede del inconsciente colectivo y su proceso creador es la activación de una imagen arquetípica.

«Whoever speaks in primordial images speaks with a thousand voices; he enthrals and overpowers . . . he transmutes our personal destiny into the destiny of mankind, and evokes in us all those beneficent forces that ever and anon have enabled humanity to find a refuge from every peril and to outlive the longest night.» — [Shamdasani] cita a Jung sobre quien habla en imágenes primordiales: habla con mil voces y convierte el destino personal en destino de la humanidad.

«The artist who produced such works educated the spirit of the age, and compensated the one-sidedness of the present.» — [Shamdasani] recoge la función compensatoria que Jung asignaba al artista de obra visionaria respecto de la unilateralidad de su época.

«Thus while Jung refused to regard Liber Novus as “art,” his reflections on its composition were nevertheless a critical source of his subsequent conceptions and theories of art.» — [Shamdasani] sostiene la paradoja sin resolverla: Jung negó que su libro fuera arte, y de pensar su composición salieron sus teorías del arte.

«These notes recount her discussions with Jung and are written in the form of letters to him, but were not sent.» — [Shamdasani] describe la fuente que usa para la discusión sobre publicar: notas de Cary Baynes en forma de cartas a Jung que nunca envió.

«but you could only command the scientific and philosophical method and that stuff you couldn’t cast into that mold.» — [Cary Baynes, citada por Shamdasani] le dice a Jung que solo dominaba el método científico y filosófico y que ese material no cabía en ese molde.

«Goethe had been caught in the same difficulty in the 2nd part of Faust in which he had gotten into the unconscious and found it so difficult to get the right form that he had finally died leaving the Mss. as such in his drawer.» — [Cary Baynes, citada por Shamdasani] le propone a Jung el precedente de Goethe en la segunda parte del Fausto, que murió dejando el manuscrito en el cajón por no hallar la forma.

«You objected to presenting any of it as Dichtung when it was all Wahrheit, but it does not seem to me falseness to make use of that much of a mask in order to protect yourself from Philistia—and after all, as I said Philistia has its rights, confronted with the choice of you as a lunatic, and themselves as inexperienced fools they have to choose the former alternative, but if they can place you as a poet, their faces are saved.» — [Cary Baynes, citada por Shamdasani] recoge la objeción de Jung a presentar como *Dichtung* lo que para él era *Wahrheit*, y le replica que la máscara sería protección frente al filisteísmo.

«In most cases the mind evidently drops out of the irrelevant stuff automatically and delivers the end product, whereas you bring along the whole business, matrix process and product.» — [Cary Baynes, citada por Shamdasani] describe lo que a su juicio distingue el libro: donde otros entregan solo el producto, Jung trae matriz, proceso y producto juntos.

«It is one of your great gifts strength of seeing the black as well as the white of every given situation, so you will know better than most of the people who attack the book, what it is that they want to destroy.» — [Cary Baynes, citada por Shamdasani] le atribuye a Jung la capacidad de ver el negro y el blanco de cada situación, y por eso de entender a quien ataque el libro.

«That would be all right, whatever there is of truth in it is going to survive in any case.» — [Cary Baynes, citada por Shamdasani] resta importancia al ataque previsible: lo que haya de verdad sobrevivirá igual.

«You were certain some of them had great importance, but you could not find the appropriate form—as they were now you said they might come out of a madhouse.» — [Cary Baynes, citada por Shamdasani] recoge lo que Jung le dijo de sus propias fantasías: importantes, y sin forma hallada, tal como estaban parecían salidas de un manicomio.

«You said some of it hurt your sense of the fitness of things terribly, and that you had shrunk from putting it down as it came to you, but that you had started on the principle of “voluntariness” that is of making no corrections and so you had stuck to that.» — [Cary Baynes, citada por Shamdasani] consigna el principio de voluntariedad al que Jung dijo haberse atenido pese a que parte del material le repugnaba.

«Some of the pictures were absolutely infantile, but were intended so to be.» — [Cary Baynes, citada por Shamdasani] recoge que lo infantil de algunas pinturas era deliberado.

«It could not be for you, you said, you had to remain the psychologist—the person who understood the process.» — [Cary Baynes, citada por Shamdasani] cita la posición que Jung se reservaba: no la del artista, sino la del psicólogo que entiende el proceso.

«That it was a preparation for the Red Book, because the Red Book told of the battle between the world of reality and the world of the spirit. You said in that battle you had been very nearly torn asunder but that you had managed to keep your feet on the earth & make an effect on reality.» — [Cary Baynes, citada por Shamdasani] resume lo que Jung le dijo del libro como batalla entre el mundo de la realidad y el del espíritu, en la que estuvo a punto de partirse en dos.

«I am absolutely thunderstruck, for example, as I read the Red Book, and see all that is told there for the Right Way for us of today, to find how Toni has kept it out of her system.» — [Cary Baynes, citada por Shamdasani] declara su asombro al leer el libro y comparar lo que dice con lo poco que veía de ello en Toni Wolff.

«There are people in my country who would read it from cover to cover without stopping to breathe scarcely, so does it re-envisage and clarify the things that are today, staggering everyone who is trying to find the clue to life . . . he» — [Cary Baynes, citada por Shamdasani] argumenta que en su país habría lectores que lo leerían de cabo a rabo, en favor de publicarlo.

«Of course it may be that as he says, if he published it as it is, he would forever be hors du combat in the world of rational science, but then there must be some way around that, some way of protecting himself against stupidity, in order that the people who would want the book need not go without for the time it will take the majority to get ready for it.» — [Cary Baynes, citada por Shamdasani] recoge el riesgo que Jung alegaba —quedar fuera de combate en la ciencia racional— y busca una vía para protegerlo.

«He later recalled to Aniela Jaffé that the work still needed a suitable form in which it could be brought into the world because it sounded like prophecy, which was not to his taste.» — [Shamdasani] cita el reparo de Jung ante Aniela Jaffé: al libro le faltaba forma para salir al mundo porque sonaba a profecía, cosa que no era de su gusto.

«On May 29, 1924, Cary Baynes noted a discussion with Peter Baynes in which he argued that Liber Novus could be understood only by someone who had known Jung.» — [Shamdasani] registra la objeción de Peter Baynes en 1924: el libro solo lo entendería quien hubiera conocido a Jung.

«or rather they are written out of his head & this out of his heart.» — [Cary Baynes, citada por Shamdasani] contrapone los demás libros de Jung, escritos con la cabeza, y éste, escrito con el corazón.

«I often long for the Red Book, and I would like to have a transcript of what is available; I failed to do so when I had it, as things go.» — [Shamdasani] cita a un corresponsal que echa de menos el Red Book y lamenta no haber sacado copia cuando lo tuvo, dato de la circulación privada del texto.

«It is hard to see why he undertook this unless he was seriously considering publishing it.» — [Shamdasani] razona sobre la transcripción encargada a Cary Baynes: no se entiende el esfuerzo si no estuviera considerando publicar.

«I am deeply convinced, that those ideas that came to me, are really quite wonderful things.» — [Shamdasani] cita a Jung declarándose convencido del valor de las ideas que le llegaron.

«He described how they unfolded and indicated how they formed the basis of the ideas in Psychological Types and the key to understanding its genesis.» — [Shamdasani] sostiene que esas ideas son la base de Psychological Types y la clave de su génesis.

«He also revised some of the material that he had already transcribed into the calligraphic volume of Liber Novus, as well as some material that was left out.» — [Shamdasani] consigna que Jung revisó material ya pasado al volumen caligráfico y también material excluido.

«It is possible that Jung may have considered the publication of the Sermones as a trial for the publication of Liber Novus.» — [Shamdasani] conjetura, marcándolo como posibilidad, que la impresión privada de los Sermones fuera ensayo de la publicación del libro entero.

«Barbara Hannah claims that he regretted publishing it and that “he felt strongly that it should only have been written in the Red Book.”» — [Shamdasani] recoge de Barbara Hannah la versión contraria: Jung se arrepintió de publicarlos y creía que debían haber quedado dentro del Red Book.

«He may have written—or intended to write—further “commentaries” for other chapters, but these have not come to light.» — [Shamdasani] declara el hueco documental sobre los *Commentaries* del apéndice B: pudo haber más y no han aparecido.

«Jung replied: “I will try whether I can procure another copy of the Red Book. Please don’t worry about translations. I am sure there are 2 or 3 translations already. But I don’t know of what and by whom.”» — [Shamdasani] cita a Jung respondiendo sobre copias y traducciones del libro, y su propia incertidumbre sobre cuántas circulaban.

«This explains why he commented in his afterword to Liber Novus that to the superficial observer, the work would seem like madness, and could have become so, if he had failed to contain and comprehend the experiences.» — [Shamdasani] enlaza esto con el epílogo del propio Jung, donde dice que al observador superficial la obra parecería locura y podría haberlo sido.

«If the content of visions or fantasies had no diagnostic value, he held that it was nevertheless critical to view them carefully.» — [Shamdasani] recoge la posición clínica de Jung: el contenido de visiones y fantasías no vale para el diagnóstico, y aun así hay que mirarlo con cuidado.

«To demonstrate the validity of the conceptions that he derived in Liber Novus, Jung attempted to show that the processes depicted within it were not unique and that the conceptions which he developed in it were applicable to others.» — [Shamdasani] describe la estrategia de validación de Jung: mostrar que los procesos del libro no eran únicos suyos y valían para otros.

«During this period, he continued to instruct his patients as to how to induce visions in a waking state.» — [Shamdasani] consigna que Jung siguió enseñando a sus pacientes a inducir visiones en vigilia.

«People said he has an artistic temperament. But it was only that my unconscious was swaying me. Now I learn to act its drama as well as the drama of the outer life & so nothing can hurt me now.» — [Shamdasani] cita a un paciente que reinterpreta lo que se le llamaba temperamento artístico como acción del inconsciente, y dice haber aprendido a representar su drama.

«He described his own experiments in detail to his patients, and instructed them to follow suit.» — [Shamdasani] consigna que Jung detallaba a sus pacientes sus propios experimentos y les mandaba imitarlos.

«Jung went so far as to suggest that his patients prepare their own Red Books.» — [Shamdasani] consigna hasta dónde llegaba la instrucción: Jung sugería a sus pacientes hacerse su propio Red Book.

«I should advise you to put it all down as beautifully as you can —in some beautifully bound book.» — [Shamdasani] cita el consejo de Jung a una paciente de escribirlo todo lo más bellamente posible en un libro bien encuadernado.

«I found sometimes, that it is of great help in handling such a case, to encourage them, to express their peculiar contents either in the form of writing or of drawing and painting. There are so many incomprehensible intuitions in such cases, phantasy fragments that rise from the unconscious, for which there is almost no suitable language.» — [Shamdasani] cita a Jung justificando la escritura y la pintura en el tratamiento por la falta de lenguaje adecuado para los fragmentos que suben del inconsciente.

«He felt the need to represent his innermost thoughts in stone and to build a completely primitive dwelling: “Words and paper, however, did not seem real enough to me; something more was needed.”» — [Shamdasani] refiere el paso a la piedra en Bollingen citando a Jung: la palabra y el papel no le parecían bastante reales.

«Only now do I see for that the dream of 23/24 December 1923 means the death of the anima (“She does not know that she is dead” ). This coincides with the death of my mother . . . Since the death of my mother, the A. [Anima] has fallen silent.» — [Shamdasani] cita a Jung enlazando el sueño de diciembre de 1923 con la muerte de su madre y el enmudecer del anima; el corchete es suplemento del editor.

«The center is the goal, and everything is directed toward that center. Through this dream I understood that the self is the principle and archetype of orientation and meaning.» — [Shamdasani] cita el pasaje donde Jung deriva del sueño de Liverpool que el sí-mismo es el principio y arquetipo de la orientación y del sentido, con el centro por meta.

«He argued that the first half of life could be characterized as the natural phase, in which the prime aim was establishing oneself in the world, gaining an income, and raising a family.» — [Shamdasani] expone el esquema junguiano de las dos mitades de la vida: la primera, fase natural de instalarse en el mundo.

«He argued that there was a lack of guidance for this transition in contemporary society, and he saw his psychology as filling this lacuna.» — [Shamdasani] señala qué lugar reclamaba Jung para su psicología: llenar la falta de guía para el tránsito a la segunda mitad de la vida.

«He noted that after one had dealt with the fantasies from the personal sphere, one met with fantasies from the impersonal sphere. These were not simply arbitrary, but converged upon a goal.» — [Shamdasani] recoge la secuencia que Jung describía: tras las fantasías de la esfera personal vienen las impersonales, que no son arbitrarias sino convergentes.

«It will seem as if you were making the visions banal—but then you need to do that—then you are freed from the power of them. If you do that with these eyes for instance they will cease to draw you. You should never try to make the visions come again. Think of it in your imagination and try to paint it.» — [Shamdasani] cita el resto de ese consejo de Jung: banalizar la visión al ponerla por escrito es lo que libera de su poder, y no hay que forzarla a volver.

«I let my patients find their own symbolic expressions, their “mythology.”» — [Shamdasani] cita de una carta de 1929 la regla que Jung se ponía: dejar que el paciente halle su propia expresión simbólica, su mitología.

«In the 1920s, Jung’s interest increasingly shifted from the transcription of Liber Novus and the elaboration of his mythology in the Black Books to working on his tower in Bollingen.» — [Shamdasani] fecha en los años veinte el desplazamiento del interés de Jung, de transcribir Liber Novus a construir la torre de Bollingen.

«Jung argued that just as it was essential for a man to distinguish between what he was and how he appeared to others, it was equally essential to become conscious of “his invisible relations to the unconscious” and hence to differentiate himself from the anima.» — [Shamdasani] expone la simetría que Jung establecía: distinguirse de la persona y a la vez hacerse consciente de las relaciones invisibles con el inconsciente, diferenciándose del anima.

«Everyone, he claimed, had this ability to hold dialogues with him- or herself.» — [Shamdasani] recoge la generalización de Jung: la capacidad de dialogar consigo mismo la tiene cualquiera.

«It was critical to disidentify from the thoughts that arose, and to overcome the assumption that one had produced them oneself.» — [Shamdasani] da la condición del método según Jung: desidentificarse de los pensamientos que surgen y dejar de suponer que uno los produjo.

«He argued that one should treat the fantasies completely literally while one was engaged in them, but symbolically when one interpreted them.» — [Shamdasani] enuncia la doble regla de Jung sobre las fantasías: tomarlas al pie de la letra mientras se está en ellas, simbólicamente al interpretarlas.

«The first effect is that the range of consciousness is increased by the inclusion of a great number and variety of unconscious contents. The second is a gradual diminution of the dominating influence of the unconscious.» — [Shamdasani] cita los dos efectos que Jung atribuía al procedimiento: ensanchar la conciencia y menguar el dominio del inconsciente.

«Jung argued that when the anima lost her “mana” or power, the man who assimilated it must have acquired this, and so became a “mana personality,” a being of superior will and wisdom.» — [Shamdasani] expone el peligro que Jung veía en el paso siguiente: quien asimila el mana del anima se vuelve personalidad-mana, ser de voluntad y sabiduría superiores.

«If one gave up the claim to victory over the anima, possession by the figure of the magician ceased, and one realized that the mana truly belonged to the “mid-point of the personality,” namely, the self.» — [Shamdasani] da la salida que Jung proponía a ese peligro: renunciar a la victoria sobre el anima y reconocer que el mana pertenece al punto medio de la personalidad.

«Fate appears to have given us the role of two bridge pillars which carry the bridge between East and West.”» — [Shamdasani] cita a Jung sobre el papel que se atribuía junto a Richard Wilhelm: dos pilares del puente entre Oriente y Occidente.

«They give an excellent image of the effort of the unconscious European spirit to grasp Eastern eschatology.» — [Shamdasani] cita el juicio de Jung sobre unos materiales como imagen del esfuerzo del espíritu europeo inconsciente por captar la escatología oriental.

«Jung added that he saw these activities as a form of compensation for the years of inner preoccupation.» — [Shamdasani] recoge que Jung tenía sus actividades exteriores de esos años por compensación de los años de encierro interior.

«His understanding of it was based on two main theses: first, that in meditating on the texts and materials in their laboratories, the alchemists were actually practicing a form of active imagination.» — [Shamdasani] da la primera de las dos tesis con que Jung leía la alquimia: los alquimistas practicaban una forma de imaginación activa al meditar sobre textos y materias.

«Second, that the symbolism in the alchemical texts corresponded to that of the individuation process with which Jung and his patients had been engaged.» — [Shamdasani] da la segunda: el simbolismo de los textos alquímicos corresponde al proceso de individuación en que Jung y sus pacientes andaban.

«One is simply not in a position to comprehend the genesis of Jung’s late work, nor to fully understand what he was attempting to achieve, without studying Liber Novus.» — [Shamdasani] enuncia la consecuencia de esa lectura para el estudio de Jung: sin este libro no se comprende la génesis de su obra tardía.

«When asked by Kurt Wolff in 1957 on the relation between his scholarly works and his biographical notes of dreams and fantasies, Jung replied: That was the primal stuff that compelled me to work on it, and my work is a more or less successful attempt to incorporate this incandescent matter into the worldview of my time.» — [Shamdasani] cita la respuesta de Jung a Kurt Wolff en 1957 sobre la relación entre sus obras eruditas y sus apuntes de sueños: aquello era la materia primera que lo obligó a trabajar.

«After 1930, Jung put Liber Novus to one side. While he had stopped working directly on it, it still remained at the center of his activity.» — [Shamdasani] acota lo que significó dejar el libro en 1930: dejó de trabajarlo directamente y siguió siendo el centro de su actividad.

«The question that he pursued was the following: was something akin to the individuation process to be found in all cultures? If so, what were the common and differential elements?» — [Shamdasani] formula la pregunta que Jung persiguió en sus investigaciones simbólicas: si algo semejante a la individuación se halla en todas las culturas.

«In this perspective, Jung’s work after 1930 could be considered as an extended amplification of the contents of Liber Novus, and an» — [Shamdasani] propone leer toda la obra de Jung posterior a 1930 como amplificación de los contenidos de Liber Novus; la frase sigue en la plana siguiente.

«Some of the statements made in Liber Novus closely correspond to positions that Jung would later articulate in his published works, and represent their first formulations.238 On the other hand, much did not directly find its way into the Collected Works, or was presented in a schematic form, or through allegory» — [Shamdasani] mide la relación entre este libro y las Collected Works por sus dos lados: algunas afirmaciones son la primera formulación de posiciones posteriores, y mucho no pasó a la obra publicada o pasó esquematizado o en alegoría.

«The critical insight that enabled these linkages and comparisons was Jung’s realization that these practices were all based on different forms of active imagination—and that they all had as their goal the transformation of the personality—which Jung understood as the process of individuation.» — [Shamdasani] nombra la intuición que permitió a Jung enlazar prácticas dispares: todas serían formas de imaginación activa con la individuación por meta.

«He noted that the present work filled a gap in his description of his therapeutic methods, as he had written little about active imagination.» — [Shamdasani] consigna que Jung veía en ese libro el hueco cubierto de su exposición terapéutica, porque había escrito poco sobre imaginación activa.

«I wanted to assure myself that these things—mandalas especially—really are produced spontaneously and were not suggested to the patient» — [Shamdasani] cita a Jung sobre su cautela metodológica: quería asegurarse de que los mandalas se producían espontáneamente y no por sugestión.

«In 1952, through his collaboration with the Nobel Prize–winning physicist Wolfgang Pauli, Jung argued that there existed a principle of acausal orderedness that underlay such “meaningful coincidences,” which he called synchronicity.» — [Shamdasani] fecha en 1952 y adjudica a la colaboración con Wolfgang Pauli el principio de ordenación acausal que Jung llamó sincronicidad.

«He claimed that under certain circumstances, the constellation of an archetype led to a relativization of time and space, which explained how such events could happen.» — [Shamdasani] expone el mecanismo que Jung proponía: la constelación de un arquetipo relativiza tiempo y espacio.

«While Jung had stopped working directly on Liber Novus, the question of what to do with it remained, and the issue of its eventual publication remained open.» — [Shamdasani] deja abierta la cuestión que atraviesa el apartado: qué hacer con el libro y si publicarlo.

«Jung replied to Mary Mellon concerning a printing of the Sermones: “Concerning the printing of the ‘Seven Sermones’ I should wish you to wait for a while.» — [Shamdasani] cita a Jung pidiendo esperar sobre la impresión de los Sermones.

«In 1944, he had a major heart attack and did not see this plan through.» — [Shamdasani] fecha en 1944 el infarto de Jung y la interrupción de aquel plan.

«Cary Baynes considered writing a biography of Jung based on Liber Novus.249 To Jung’s disappointment, she withdrew from the project.» — [Shamdasani] consigna el proyecto de biografía de Cary Baynes basada en Liber Novus y su retirada, para desilusión de Jung.

«In 1956, Kurt Wolff proposed another biographical project, which became Memories, Dreams, Reflections.» — [Shamdasani] fecha en 1956 el proyecto biográfico de Kurt Wolff del que salió Memories, Dreams, Reflections.

«Jung authorized Jaffé to cite from Liber Novus and the Black Books in Memories, Dreams, Reflections.» — [Shamdasani] consigna la autorización de Jung a Jaffé para citar de Liber Novus y de los Black Books.

«she wrote to Jack Barrett of the Bollingen Foundation concerning Liber Novus, and informed him that Jung had suggested that it and the Black Books be given to the library of the University of Basel with a restriction of 50 years, 80 years, or longer, as “he hates the idea that anybody should read this material without knowing the relations to his life, etc.”» — [Shamdasani] refiere que Jung sugirió depositar el libro y los Black Books en la biblioteca de Basilea, con la reserva de que sin conocer su relación con su vida no se entenderían.

«On October 12, 1957, Jung told Jaffé that he had never finished the Red Book.» — [Shamdasani] fecha la declaración de Jung a Jaffé de que nunca terminó el libro.

«Jung was aware that the work would eventually be studied at some stage.» — [Shamdasani] sostiene que Jung contaba con que el libro acabaría estudiándose.

«In 1984, Liber Novus was professionally photographed, and five facsimile editions were prepared. These were given to the five families directly descendent from Jung.» — [Shamdasani] fecha en 1984 la fotografía profesional del manuscrito y las cinco ediciones facsimilares repartidas entre las familias descendientes.

«As a result of my researches, I found one transcription and a partial transcription of Liber Novus and presented them to the Jung heirs in 1997. Around the same time, another transcription was presented to the heirs by Marie-Louise von Franz.» — [Shamdasani] narra en primera persona el hallazgo de las transcripciones en 1997, y consigna que von Franz presentó otra por su lado.

«On the basis of these reports and discussions, the heirs decided in May 2000 to release the work for publication.» — [Shamdasani] fecha en mayo de 2000 la decisión de los herederos, tomada sobre sus informes y las discusiones consiguientes.

«The work on Liber Novus was at the center of Jung’s self-experimentation. It is nothing less than the central book in his oeuvre.» — [Shamdasani] enuncia su tesis más fuerte sobre el lugar del libro: nada menos que el libro central de la obra de Jung.

«For nearly a century, such a reading has simply not been possible, and the vast literature on Jung’s life and work that has arisen has lacked access to the single most important documentary source.» — [Shamdasani] mide el defecto de la literatura junguiana existente: se hizo sin acceso a la fuente documental más importante.

«This publication marks a caesura, and opens the possibility of a new era in the understanding of Jung’s work. It provides a unique window into how he recovered his soul and, in so doing, constituted a psychology. Thus this introduction does not end with a conclusion, but with the promise of a new beginning.» — [Shamdasani] cierra la introducción declarando cesura y comienzo, y no conclusión: el libro sería la ventana a cómo Jung recobró su alma y con ello constituyó una psicología.

«He held that the mandala represented one of the best examples of the universality of an archetype.» — [Shamdasani] recoge que Jung tenía el mandala por uno de los mejores ejemplos de universalidad de un arquetipo.

«He also noted that they were produced by patients of psychotherapists who were not his students.» — [Shamdasani] añade el apoyo empírico que Jung alegaba: los mandalas los producían también pacientes de terapeutas que no eran alumnos suyos.

«With its publication, one is now in a position to study what took place there on the basis of primary documentation as opposed» — [Shamdasani] declara lo que la publicación permite: estudiar lo ocurrido sobre documentación primaria; la frase, que sigue oponiéndola a la fantasía y al chisme, se corta en el límite de segmento del troceo.

«Swedenborg argued that the Bible had two levels of meaning: a physical, literal level, and an inner, spiritual level.» — [Shamdasani, en nota] expone la doctrina de Swedenborg de los dos niveles de sentido de la Biblia, literal y espiritual.

«He proclaimed the advent of a “new church” that represented a new spiritual era.» — [Shamdasani, en nota] consigna que Swedenborg proclamó una nueva iglesia y una nueva era espiritual.

«According to Swedenborg, from birth one acquired evils from one’s parents which are lodged in the natural man, who is diametrically opposed to the spiritual man. Man is destined for Heaven, and he cannot reach there without spiritual regeneration and a new birth.» — [Shamdasani, en nota] resume la antropología de Swedenborg: males heredados alojados en el hombre natural, opuesto al espiritual, y necesidad de regeneración.

«He then devoted his life to relating what he had heard and seen in Heaven and Hell and learned from the angels, and in interpreting the internal and symbolic meaning of the Bible.» — [Shamdasani, en nota] describe la tarea que Swedenborg se dio: relatar lo visto en el cielo y el infierno e interpretar el sentido interno de la Biblia.

«The meaning of the dream lies in the principle of the ancestral figure: not the Austrian officer—obviously he stood for the Freudian theory—but the other, the Crusader, is an archetypal figure, a Christian symbol living from the twelfth century, a symbol that does not really live today, but on the other hand is not wholly dead either.» — [Shamdasani, en nota] cita la lectura tardía que Jung hizo del sueño del aduanero: el oficial austriaco valía por la teoría freudiana, y el cruzado es figura arquetípica cristiana.

«The subsequent notebooks are black, hence Jung referred to them as the Black Books.» — [Shamdasani, en nota] explica de dónde viene el nombre de los Black Books: el color de las libretas.

«Watson notes that Augustine “had been through a period of intense strain, close to a nervous breakdown, and the Soliloquies are a form of therapy, an effort to cure himself by talking, or rather, writing” (p. v).» — [Shamdasani, en nota] recoge de Watson la lectura de los Soliloquios de Agustín como terapia por la escritura, precedente del diálogo consigo mismo que Jung practica.

«In Jung’s account here, it seems that this dialogue took place in the autumn of 1913, though this is not certain, because the dialogue itself does not occur in the Black Books, and no other manuscript has yet come to light.» — [Shamdasani, en nota] declara la incertidumbre de una fecha y su base documental: el diálogo no aparece en los Black Books ni en otro manuscrito conocido.

«In 1939/40, Jung presented a psychological commentary on the spiritual exercises of St. Ignatius of Loyola at the ETH (Philemon Series, forthcoming).» — [Shamdasani, en nota] fecha en 1939-40 el comentario psicológico de Jung a los ejercicios de Ignacio de Loyola en la ETH.

«Jung had a copy of Staudenmaier’s book, and marked some passages in it.» — [Shamdasani, en nota] documenta por la biblioteca de Jung su lectura de Staudenmaier, con pasajes marcados.

«The technique of active imagination can prove very important in difficult situations—where there is a visitation, say. It only makes sense when one has the feeling of being up against a blank wall.» — [Shamdasani, en nota] cita a Jung sobre cuándo tiene sentido la imaginación activa: ante el muro liso, en situaciones difíciles.

«On the myth of Jung’s madness, first promoted by Freudians as a means of invalidating his work, see my Jung Stripped Bare by His Biographers, Even.» — [Shamdasani, en nota] nombra como mito la locura de Jung y adjudica su promoción a freudianos que buscaban invalidar su obra, remitiendo a un libro propio.

«On November 11, 1948, he wrote to Piloo Nanavutty, “I find Blake a tantalizing study, since he has compiled a lot of half- or undigested knowledge in his fantasies. According to my idea, they are an artistic production rather than an authentic representation of unconscious processes”» — [Shamdasani, en nota] cita el juicio de Jung sobre Blake, cuyas fantasías tenía por representación auténtica de procesos inconscientes con saber a medio digerir.

«On page 23 of the manuscript of Scrutinies, a date is indicated: “27/11/17,” which suggests that they were written in the latter half of 1917, and thus after the mandala experiences at Chateau d’Oex.» — [Shamdasani, en nota] data Scrutinies por una fecha del manuscrito, posterior a los mandalas de Château d'Oex.

«The immediate sources that Jung drew on for his concept of the self appear to be the Atman/Brahman conception in Hinduism, which he discussed in 1921 Psychological Types, and certain passages in Nietzsche’s Zarathustra.» — [Shamdasani, en nota] adjudica las fuentes inmediatas del concepto junguiano del sí-mismo al Atman-Brahman hindú y a pasajes del Zaratustra.

«He added the following definition of this figure: “By shadow I understand the ‘negative’ side of the personality, the sum of all those hidden unpleasant qualities, the insufficiently developed functions and the contents of the personal unconscious” (Ibid., §103n).» — [Shamdasani, en nota] cita la definición junguiana de la sombra como lado negativo de la personalidad, funciones poco desarrolladas y contenidos del inconsciente personal.

«In a seminar the following year, Jung took up the theme of the relation of individual relations to religion: “No individual can exist without individual relationships, and that is how the foundation of your Church is laid. Individual relations lay the form of the invisible Church” (Notes on the Seminar» — [Shamdasani, en nota] cita a Jung en seminario haciendo de las relaciones individuales el fundamento de lo que llama la iglesia invisible.

«In 1930, Jung expanded upon this theme, and described the first type of work as “psychological,” and the latter as “visionary.” “Psychology and poetry,” CW 15.» — [Shamdasani, en nota] fecha en 1930 la distinción junguiana entre obra psicológica y obra visionaria.

«Michael Fordham recalled being given a copy by Peter Baynes when he had reached a suitably “advanced” stage in his analysis, and being sworn to secrecy about it (personal communication, 1991).» — [Shamdasani, en nota] documenta con un testimonio la circulación iniciática de los Sermones: se entregaba en fase avanzada del análisis y bajo juramento de secreto.

«Cary Baynes noted a discussion with Jung in the previous spring which has bearings on this: “You [Jung] said that no matter how marked off from the crowd an individual might be with special gifts, he yet had not fulfilled all his duties, psychologically speaking, unless he could function successfully in collectivity.» — [Shamdasani, en nota] cita a Jung sosteniendo, según nota de Cary Baynes, que ni el individuo más dotado se separa del deber de funcionar en la colectividad.

«One may note that the publication of the Freud/Jung Letters, crucial as this was in its own right, while Liber Novus and the bulk of Jung’s other correspondences remained unpublished, regrettably heightened the mistaken Freudocentric view of Jung: as we see, in Liber Novus, Jung is moving in a universe that is as far away from psychoanalysis as could be imagined.» — [Shamdasani, en nota] objeta el efecto de haber publicado la correspondencia Freud-Jung mientras Liber Novus y el resto seguían inéditos.

«At the outset of Liber Novus, Jung experiences a crisis of language. The spirit of the depths, who immediately challenges Jung’s use of language along with the spirit of the time, informs Jung that on the terrain of his soul his achieved language will no longer serve.» — [los traductores Kyburz, Peck y Shamdasani] abren su nota describiendo el comienzo del libro como crisis de lengua: el espíritu de las profundidades le dice a Jung que en el terreno de su alma su lengua adquirida ya no sirve.

«His own powers of knowing and speaking can no longer account for why he utters what he says or under what compulsion he speaks.» — [los traductores Kyburz, Peck y Shamdasani] describen el efecto de esa crisis: Jung deja de poder dar cuenta de por qué dice lo que dice ni bajo qué compulsión habla.

«He is made to understand that what he might say on these occasions is both “madness” and, instructively, what is.» — [los traductores Kyburz, Peck y Shamdasani] recogen la doble caracterización de lo que Jung dice en esas ocasiones: locura y, a la vez, lo que es.

«In translating this accumulated record of Jung’s imaginal encounters with his inner figures, from a sixteen-year period beginning just before the First World War, we have let Jung remain a» — [los traductores Kyburz, Peck y Shamdasani] declaran su criterio de traducción sobre el registro de dieciséis años de encuentros imaginales; la frase sigue en la plana siguiente.

«We have tried neither to further modernize nor to render more archaic the language and forms in which he couched his personal record.» — [los traductores Kyburz, Peck y Shamdasani] enuncian su regla: ni modernizar ni arcaizar la lengua y las formas en que Jung vertió su registro.

«The language in Liber Novus pursues three main stylistic registers, and each poses distinct difficulties for a translator.» — [los traductores Kyburz, Peck y Shamdasani] distinguen tres registros estilísticos en la lengua del libro, cada uno con su dificultad propia.

«One of them faithfully reports the fantasies and inner dialogues of Jung’s imaginal encounters, while a second remains firmly and discerningly conceptual. Still a third writes in a mantic and prophetic, or Romantic and dithyrambic, mode.» — [los traductores Kyburz, Peck y Shamdasani] describen los tres registros: el que reporta fielmente fantasías y diálogos, el conceptual y el mántico-profético o romántico y ditirámbico.

«The relation between these reportorial, reflective, and Romantic aspects of Jung’s language remains comedic in a manner that Dante or Goethe would have recognized.» — [los traductores Kyburz, Peck y Shamdasani] llaman cómica, en el sentido que reconocerían Dante o Goethe, la relación entre los tres registros.

«A reader will quickly infer that this design was not premeditated, but rather grew from the experiment to which Jung arduously submitted.» — [los traductores Kyburz, Peck y Shamdasani] advierten que ese diseño no fue premeditado sino que creció del experimento al que Jung se sometió.

«Here we need only observe that Jung each time sets down an initial protocol layer of narrative encounter, usually with dialogue, and then, in the “second layer,” a lyrical elaboration of and commentary on that encounter.» — [los traductores Kyburz, Peck y Shamdasani] describen la mecánica de composición en dos capas: protocolo narrativo del encuentro y, en la segunda capa, elaboración lírica y comentario.

«The first layer avoids an elevated tone, whereas the second welcomes elevation and modulates into sermonic, mantic-prophetic reflections on the episode’s meaning, which in turn unpack events discursively.» — [los traductores Kyburz, Peck y Shamdasani] contrastan el tono de las dos capas: la primera evita lo elevado, la segunda modula a lo sermonario y mántico-profético.

«In Jung’s extensive published and unpublished corpus, there is no other text that was subjected to such careful and continual linguistic revision as Liber Novus.» — [los traductores Kyburz, Peck y Shamdasani] sitúan el libro como el texto más revisado lingüísticamente de todo el corpus de Jung, publicado e inédito.

«The mantic and conceptual registers can themselves be considered as translations of the descriptive register.» — [los traductores Kyburz, Peck y Shamdasani] proponen leer los registros mántico y conceptual como traducciones del descriptivo, de modo que el libro se compuso por traducción interna.

«There is Peter Baynes’s strikingly archaizing Septem Sermones of 1925, which draws largely upon a Victorian idiom. Or the conceptually rationalizing version that R.F.C. Hull might have attempted had he been allowed to translate it alongside his other volumes in the Bollingen Series of Jung’s Collected Works;4 or the elegant literary rendering from the hand of someone like R. J. Hollingdale. Our version therefore occupies an actual position in a largely virtual sequence.» — [los traductores Kyburz, Peck y Shamdasani] sitúan su versión frente a modelos que no existieron: el arcaizante de Peter Baynes de 1925, el racionalizante que habría hecho Hull, el literario de un Hollingdale.

«Therefore it comes as no surprise that in his more elevated passages Jung relied on the resonance of the Luther Bible, itself a translation that had achieved rocklike stability within German culture.» — [los traductores Kyburz, Peck y Shamdasani] adjudican la resonancia de los pasajes elevados de Jung a la Biblia de Lutero, y de ahí su propio recurso a la King James.

«Yet a paradox rises immediately: what Jung counted on in that resonance had transplanted an alien spirit into the Germanic Heimat or home, as one may likewise say of the KJV’s deep embedding of the same implant in Anglo-Saxon culture.» — [los traductores Kyburz, Peck y Shamdasani] señalan la paradoja de esa resonancia: lo que Lutero fijó en el *Heimat* germánico era un espíritu ajeno trasplantado, igual que la King James en la cultura anglosajona.

«Yet even these profound allowances for archaic and original speech across abysses of meaning fail to approximate the destabilizing experience, in and through language, to which Jung testifies.» — [los traductores Kyburz, Peck y Shamdasani] declaran el límite de todos esos recursos: ninguno alcanza la experiencia desestabilizadora de la que Jung da testimonio en y por la lengua.

«His later comments in the published memoir, on his reservations about high-flown style,10 in effect cover his tracks in Liber Novus.» — [los traductores Kyburz, Peck y Shamdasani] objetan a las memorias publicadas de Jung que sus reservas sobre el estilo altisonante borran las huellas de lo que hizo en este libro.

«The original experience sent speech into a spin that animates the book’s initiatic dimension.» — [los traductores Kyburz, Peck y Shamdasani] atribuyen a la experiencia original el giro del habla que anima lo que llaman la dimensión iniciática del libro.

«Jung’s search for the soul, then, stands at one with the search for appropriately dialogical and differentiated language.» — [los traductores Kyburz, Peck y Shamdasani] identifican la búsqueda del alma con la búsqueda de una lengua dialógica y diferenciada.

«To take but one example, one begins to see that it is too neat to equate the opposed yet related depths of Logos and Eros with the conceptual and lyrical-mantic registers found in Liber Novus.» — [los traductores Kyburz, Peck y Shamdasani] advierten contra una equivalencia demasiado pulcra entre el par Logos y Eros y los registros conceptual y lírico-mántico.

«In this note we have attempted to convey only the general principles that have guided this translation. A full discussion of the choices that confronted us and a justification of the decisions taken would fill a volume as ample as this one.» — [los traductores Kyburz, Peck y Shamdasani] declaran el alcance de su nota: solo principios generales, porque justificar cada decisión llenaría un volumen como éste.

«The following instances give some idea of this factor’s range, mapping the stresses in any sincere ventriloquism such as Jung risked by undertaking a controlled séance with himself and his ground, with pen in hand.» — [los traductores] presentan su muestrario como mapa de las tensiones de lo que llaman el ventriloquismo sincero de Jung, una sesión controlada consigo mismo y con su fondo.

«Hölderlin’s hair-breadth space warps and Isaiah’s tongue-borne burning coal both move in this league, along with Plato on “right frenzy” or divine madness:» — [los traductores] sitúan esas tensiones en la liga de Hölderlin, del carbón encendido en la lengua de Isaías y del frenesí justo de Platón.

«In the protocols for his memoir, Jung recalls bringing to the original experiences in Liber Novus only a “highly clumsy speech.”» — [los traductores] contraponen a esos ejemplos lo que Jung recordaba en los protocolos de sus memorias, que solo llevó a la experiencia un habla muy torpe.

«I knew that Philemon had intoxicated me and given me a language that was foreign to me and of a different sensitivity. All of this faded when the God arose and only Philemon kept that language.» — séptimo ejemplo, que los traductores oponen a esa modestia tardía: Jung dice que Filemón lo embriagó y le dio una lengua ajena, que al alzarse el dios solo Filemón conservó.

«This last instance indicates that Jung later attributed the mantic, dithyrambic speech of layer two in everything before the Scrutinies section to Philemon.» — [los traductores] sacan de ahí una adjudicación de voz: Jung atribuyó luego a Filemón el habla mántica y ditirámbica de la segunda capa en todo lo anterior a Scrutinies.

«The literal intoxication described here is linguistic, a dramatized, ventriloquial version of Platonic divine madness.» — [los traductores] leen esa embriaguez como lingüística, versión dramatizada y ventrílocua de la locura divina platónica.

«These instances in all their oscillations affect a reading of Jung’s Collected Works, and counsel caution with applying its conceptual tools to the task of reading and understanding Liber Novus.» — [los traductores] aconsejan cautela al aplicar el aparato conceptual de las Collected Works a la lectura de este libro.

«Plato on “right frenzy” or divine madness: (1)” My soul spoke to me in a whisper, urgently and alarmingly: ‘Words, words, do not make too many words. Be silent and listen: have you recognized your madness, and do you admit it? Have you noticed that all your foundations are all completely mired in madness?» — [los traductores] abren su muestrario con el alma mandando callar a Jung y preguntándole si reconoce su locura y que sus fundamentos están hundidos en ella.

«(2) Jung’s soul: “There are hellish webs of words, only words . . . Be tentative with words, value them . . . for you are the first who gets snared in them. For words have meanings. With words you pull up the underworld. Word, the paltriest and the mightiest. In words the emptiness and the fullness flow together. Hence the word is an image of the God.» — [los traductores] dan como segundo ejemplo al alma advirtiendo contra las redes infernales de palabras y llamando a la palabra imagen del dios, donde vacío y plenitud confluyen.

«(3) “But if the word is a symbol, it means everything. When the way enters death and we are surrounded by rot and horror, the way rises in the darkness and leaves the mouth as the saving symbol, the word.» — [los traductores] dan como tercer ejemplo la palabra vuelta símbolo, que en la podredumbre sale de la boca como salvación.

«(4) The dead woman: “Let me have the word—oh, that you cannot hear! How difficult—give me the word!”14 It then materializes in Jung’s hand as HAP, the phallus.» — [los traductores] dan como cuarto ejemplo a la muerta pidiendo la palabra que Jung no puede oír, y anotan que se materializa en su mano como el falo HAP.

«Soul: “They do not see the fire, they do not believe your words, but they see your mark and unknowingly suspect you to be the messenger of the burning agony . . . You stutter, you stammer.» — [los traductores] cierran el sexto ejemplo con el alma: no ven el fuego ni creen sus palabras, pero ven la marca y lo sospechan mensajero de la agonía ardiente.

«We have a series of manuscripts, of which no single version can be taken as final. Consequently, the text could be presented in a variety of ways.» — [Shamdasani, en el Editorial Note] declara la razón editorial de fondo: ninguna versión puede tomarse por definitiva y el texto podría presentarse de varias maneras.

«Black Books 2–5 (November 1913–April 1914) Handwritten Draft (Summer 1914–1915) Typed Draft (circa 1915) Corrected Draft (with one layer of changes circa 1915; one layer of changes circa mid-1920s) Calligraphic Volume (1915–1930, resumed in 1959, left incomplete) Cary Baynes’s transcription (1924–1925)» — [Shamdasani] enumera la secuencia de manuscritos con sus fechas, del Black Book al volumen caligráfico dejado incompleto y a la transcripción de Cary Baynes.

«As Jung considered Liber Novus to be an “attempt at an elaboration in terms of the revelation,” the changes between the different versions present this “attempt at an elaboration,” and therefore are an important part of the work itself.» — [Shamdasani] justifica su aparato de variantes: si el libro era un intento de elaboración, los cambios entre versiones son parte de la obra.

«Thus the notes indicate significant changes between the different versions, and they present material that clarifies the meaning or context of a particular section.» — [Shamdasani] declara qué hacen sus notas: registrar los cambios de versión y aportar lo que aclara el sentido o el contexto de una sección.

«Each manuscript layer is important and interesting, and a publication of all of them—which would run to several thousand pages—would be a task for the future.» — [Shamdasani] deja fuera por escrito la edición de todas las capas, que calcula en varios miles de páginas.

«The criterion for including passages from the earlier manuscripts has been simply the question: does this inclusion help the reader comprehend what is taking place?» — [Shamdasani] da el criterio de inclusión de pasajes de los manuscritos anteriores, que es de ayuda al lector y no de exhaustividad.

«These corrections modernize the language, and bring the terminology into relation with Jung’s terminology from the period of Psychological Types.» — [Shamdasani] caracteriza la capa tardía de correcciones de Jung: moderniza la lengua y acerca la terminología a la de Psychological Types.

«Jung even corrected material in the Draft that was deleted in the calligraphic volume.» — [Shamdasani] señala un dato contra la idea de abandono: Jung enmendó incluso material del borrador que había suprimido del volumen caligráfico.

«From them, it is possible for a reader to see how Jung would have revised the whole text, had he completed this layer of corrections.» — [Shamdasani] declara lo que esas correcciones permiten ver: cómo habría revisado Jung el texto entero de haber completado esa capa.

«The decision to include Scrutinies in sequence with and as part of Liber Novus is based on the following editorial rationale:» — [Shamdasani] anuncia que va a razonar la decisión de incluir Scrutinies como parte de Liber Novus, en vez de darla por hecha.

«At the end of Liber Secundus, Jung’s soul has ascended to Heaven following the reborn God. Jung now thinks that Philemon is a charlatan, and comes to his “I,” whom he must live with and educate.» — [Shamdasani] da su primer argumento por la continuidad narrativa: al final del segundo libro el alma ha ascendido tras el dios renacido, y Jung, que ahora tiene a Filemón por charlatán, se vuelve a su yo.

«Only in Scrutinies do certain episodes in Liber Primus and Liber Secundus become clear.» — [Shamdasani] da su segundo argumento: hay episodios de los dos primeros libros que solo se aclaran en Scrutinies.

«These references to the “earlier part of this book” suggest that all of this indeed constitutes one book, and that Scrutinies was considered by Jung to be part of Liber Novus.» — [Shamdasani] apoya la decisión en las referencias internas a la parte anterior del libro, que a su juicio muestran que Jung tenía todo por una sola obra.

«One example is the fact that the mandalas in Liber Novus are closely connected to the experience of the self and the realization of its centrality depicted only in Scrutinies.» — [Shamdasani] pone como ejemplo los mandalas del libro, ligados a una experiencia del sí-mismo que solo se figura en Scrutinies.

«Another example occurs in Liber Secundus, chapter 15; when Ezechiel and his fellow Anabaptists arrive, they tell Jung that they are going to Jerusalem’s holy places because they are not at peace, not having fully finished with life.» — [Shamdasani] pone como segundo ejemplo a Ezequiel y los anabaptistas del capítulo 15, que van a Jerusalén porque no tienen paz.

«In Scrutinies, the dead reappear, telling Jung that they have been to Jerusalem, but did not find what they sought there.» — [Shamdasani] cierra ese ejemplo con el regreso de los muertos en Scrutinies, que no hallaron en Jerusalén lo que buscaban.

«Perhaps Jung intended to transcribe Scrutinies into the calligraphic volume and illustrate it; there are ample blank pages.» — [Shamdasani] conjetura, marcándolo como conjetura, que Jung pensara pasar Scrutinies al volumen caligráfico, y la apoya en las páginas en blanco que quedan.

«Since the publication of the original edition of this work, which included a facsimile reproduction of the calligraphic pages on a one to one scale, there has been a clamor for a more portable reader’s edition as a complement to facilitate close study of the work.» — [la nota a la Reader's Edition] da la razón de esta edición: el clamor por un formato portátil que complemente el facsímil y facilite el estudio de cerca.

«Judging by Jung’s privately printed edition of the Septem Sermones ad Mortuous, a text-only edition would likely have been one of the forms of publication that he contemplated at some stage.» — [la nota a la Reader's Edition] conjetura, por el precedente del impreso privado de los Septem Sermones, que una edición solo de texto habría estado entre las formas que Jung contempló.

«This edition reproduces the complete translation, introduction, and notes of the original edition of the work, now laid out in one column, similar to the format of Jung’s handwritten manuscript and typescript.» — [la nota a la Reader's Edition] declara qué reproduce y cómo: traducción, introducción y notas completas, dispuestas a una columna como el manuscrito y el mecanoscrito.

«Crossreferences in the text to the facsimile plates have been retained, to enable readers to quickly find the corresponding location and images, when read alongside the original edition.» — [la nota a la Reader's Edition] declara que se conservan las remisiones a las láminas del facsímil, para poder leer las dos ediciones a la vez. El troceo une el guion de corte y el verbatim sale *Crossreferences* donde el volumen imprime *Cross-references*.

«Aside from a few corrections, the text is unchanged. References to Jung’s 1925 seminar have been updated to the revised edition of 2012.» — [la nota a la Reader's Edition] acota los cambios respecto del original: unas correcciones y la actualización de las referencias al seminario de 1925 a su edición revisada de 2012.

«[HI]: Historiated initial: an initial filled with a miniature representation of a single figure or complete scene. IMAGE 000: Indicates the page number on which the image appears in the facsimile edition.» — [la tabla de abreviaturas] define las marcas que el texto conserva del manuscrito: la inicial historiada y el número de plana del facsímil donde va la imagen.

«Where passages in the notes are cited from the Corrected Draft, words deleted are given in strikeout, and words added are given in square brackets. [2]: “Layer two” added in the Draft. {00}: Subdivisions added in long sections for ease of reference» — [la tabla de abreviaturas] fija las convenciones del aparato: tachado y corchetes para las variantes del Corrected Draft, la marca de segunda capa y las subdivisiones editoriales.

«In the Liber Primus translation, the numbers at the end of the left-hand running head refer to the folios of the facsimile. For instance, fol. ii(v)/fol. iii(r) indicates the material in the translation is from folio ii, verso, and folio iii, recto, of the facsimile. The break from one page to the next in the facsimile is indicated by a red slash / in the text of the translation and the folio numbers divided by a slash / in the margins of the page.» — [la nota sobre paginación] explica que los folios de la cabecera del Liber Primus remiten al facsímil y que la barra roja marca el corte de plana del manuscrito.

«In Liber Secundus, page numbers are used: 3/5 in the running head refers to pages 3 through 5 of the facsimile. A red slash in the text» — [la nota sobre paginación] declara que en el Liber Secundus la cabecera lleva números de plana del facsímil y no folios; la frase se corta en el cambio de plana del troceo.

«1.Medieval manuscripts were numbered by folios instead of pages. The front side of the folio is the recto (the right-hand page of an open book), and the back is the verso (the left-hand of an open book). In Liber Primus, Jung followed this practice. He reverted to contemporary pagination in Liber Secundus.» — [Shamdasani, en nota al Liber Primus] explica la numeración por folios del Liber Primus, tomada del uso manuscrito medieval, y el retorno a la paginación corriente en el Liber Secundus.

«What is great in man is that he is a bridge and not a goal» — [Shamdasani, en nota al Liber Primus] cita del Draft la fórmula nietzscheana del hombre como puente y no como meta.

«This is not a law, but notice of the fact that the time of example and law, and of the straight line drawn in advance has become overripe» — [Shamdasani, en nota al Liber Primus] cita del Draft la acotación de Jung sobre su propio texto: no es ley, sino aviso de que el tiempo del ejemplo y de la ley está pasado.

«My tongue shall wither if I serve up laws, if I prattle to you about teachings. Those who seek such will leave my table hungry” (p. 10). 27.The Draft continues: “only one law exists, and that is your law.» — [Shamdasani, en nota al Liber Primus] cita del Draft el rechazo de Jung a dar leyes y enseñanzas, con la única ley que admite, la de cada quien.

«One should not turn people into sheep, but sheep into people. The spirit of the depth demands this, who is beyond present and past. Speak and write for those who want to listen and read. But do not run after men, so that you do not soil the dignity of humanity—it is a rare good. A sad demise in dignity is better than an undignified healing. Whoever wants to be a doctor of the soul sees people as being sick. He offends human dignity. It is presumptuous to say that man is sick. Whoever wants to be the soul’s shepherd treats people like sheep. He violates human dignity. It is insolent to say that people are like sheep.» — [Shamdasani, en nota al Liber Primus] cita del Draft la objeción de Jung a tratar a la gente como enferma o como rebaño.

«A point exists at about the thirty-fifth year when things begin to change, it is the first moment of the shadow side of life, of the going down to death. It is clear that Dante found this point and those who have read Zarathustra will know that Nietzsche also discovered it.» — [Shamdasani, en nota al Liber Primus] cita a Jung situando hacia los treinta y cinco años el punto de vuelta hacia la muerte, y le adjudica el mismo hallazgo a Dante y a Nietzsche.

«In Psychological Types (1921) Jung noted that in psychology, conceptions are “a product of the subjective psychological constellation of the researcher” (CW 6, §9).» — [Shamdasani, en nota al Liber Primus] recoge de Psychological Types que las concepciones psicológicas son producto de la constelación subjetiva del investigador.

«The Draft continues: “He who strives only for things will sink into poverty as outer wealth increases, and his soul will be afflicted by protracted illness” (p. 17).» — [Shamdasani, en nota al Liber Primus] da del Draft una frase suprimida en el volumen caligráfico sobre la pobreza del alma al crecer la riqueza exterior.

«The Draft continues: “I belonged to men and things. I did not belong to myself.”» — [Shamdasani, en nota al Liber Primus] da del Draft otra frase suprimida: la pertenencia a los hombres y a las cosas en lugar de a sí mismo.

«Black Book 2 continues: “And I found you again only through the soul of the woman” (p. 8).» — [Shamdasani, en nota al Liber Primus] cita del Black Book 2 una frase que el libro no conserva: haber vuelto a encontrar al alma solo por el alma de la mujer.

«Black Book 2 continues: “Look, I bear a wound that is as yet not healed: my ambition to make an impression” (p. 8).» — [Shamdasani, en nota al Liber Primus] cita del Black Book 2 la herida que Jung se reconocía, la ambición de causar impresión.

«Jung said: “The dream is not only the fulfillment of infantile desires, but also symbolizes the future . . . The dream provides the answer through the symbol, which one must understand” (MZS, p. 5).» — [Shamdasani, en nota al Liber Primus] cita de las actas de la Sociedad Psicoanalítica de Zúrich la tesis de Jung sobre el sueño como símbolo del porvenir y no solo cumplimiento de deseo infantil.

«In 1912, Jung argued that scholarliness was insufficient if one wanted to become a “knower of the human soul.”» — [Shamdasani, en nota al Liber Primus] fecha en 1912 el argumento de Jung sobre la insuficiencia de la erudición para conocer el alma.

«In 1931, Jung commented on the pathogenic consequences of the unlived life of parents upon their children: “What usually has the strongest psychic effect on the child is the life which the parents . . . have not lived.» — [Shamdasani, en nota al Liber Primus] recoge de 1931 la tesis de Jung sobre el efecto de la vida no vivida de los padres en los hijos.

«In the 1925 seminar, Jung explained his thoughts at this time: “These ideas about the anima and animus led me ever further afield into metaphysical problems, and more things crept up for reexamination.» — [Shamdasani, en nota al Liber Primus] cita del seminario de 1925 el desplazamiento de Jung hacia problemas metafísicos a partir del anima y el animus.

«I said to myself that perhaps men had had a female God originally, but growing tired of being governed by women, they had then overthrown this God.» — [Shamdasani, en nota al Liber Primus] cita la conjetura de Jung sobre un dios femenino primitivo derrocado por hartazgo de gobierno femenino.

«Jung wrote that the child motif occurs frequently in the individuation process. It does not represent one’s literal childhood, as is emphasized by its mythological nature. It compensates the onesidedness of consciousness and paves the way for the future development of the personality.» — [Shamdasani, en nota al Liber Primus] resume la doctrina junguiana del motivo del niño: no es la infancia literal, compensa la unilateralidad de la conciencia y abre el desarrollo futuro.

«In certain conditions of conflict, the unconscious psyche produces a symbol that unites the opposites. The child is such a symbol. It anticipates the self, which is produced through the synthesis of the conscious and unconscious elements of the personality.» — [Shamdasani, en nota al Liber Primus] expone la función del niño como símbolo unificador de los opuestos que anticipa el sí-mismo.

«The wonderful birth of the child indicates that this happens psychically as opposed to physically.» — [Shamdasani, en nota al Liber Primus] lee el nacimiento maravilloso del niño como marca de que el suceso es psíquico y no físico.

«My friends, as you can see, mercy is granted to the developed, not the childish.» — [Shamdasani, en nota al Liber Primus] cita del Draft el deslinde entre lo desarrollado y lo infantil a propósito de la gracia.

«Jung noted here: “Here, someone stands beside me and whispers terrible things into my ear: ‘You write to be printed and circulated among people. You want to cause a stir through the unusual. Nietzsche did this better than you. You are imitating Saint Augustine’ ”» — [Shamdasani, en nota al Liber Primus] cita la voz que Jung anotó junto al texto, acusándolo de escribir para ser impreso, de buscar el escándalo y de imitar a san Agustín.

«Jung wrote: “The Christian —my Christian—knows no curse formulas; indeed he does not even sanction the cursing of the innocent fig-tree by the rabbi Jesus”» — [Shamdasani, en nota al Liber Primus] cita a Jung deslindando su cristianismo del de las fórmulas de maldición, y hasta de la higuera maldecida por el rabino Jesús.

«Jung wrote: “Just as in Christianity the vow of worldly poverty turned the mind away from the riches of this earth, so spiritual poverty seeks to renounce the false riches of the spirit in order to withdraw not only from the sorry remnants—which today call themselves the protestant ‘churches’—of a great past, but also from all the allurements of exotic aromas; in order, finally, to turn back to itself, where, in the cold light of consciousness, the blank barrenness of the world reaches to the very stars”» — [Shamdasani, en nota al Liber Primus] cita el paralelo que Jung traza entre la pobreza voluntaria cristiana y una pobreza espiritual que renuncia a las falsas riquezas del espíritu.

«This, too, is an image of the ancients, that they lived in things symbolically: they renounced wealth in order to have a share of the voluntary poverty of their souls.» — [Shamdasani, en nota al Liber Primus] cita del Draft la lectura de Jung sobre los antiguos que vivían simbólicamente en las cosas.

«A dwarf clad entirely in leather stood before it, minding the entrance» — [Shamdasani, en nota al Liber Primus] cita de una versión previa el enano vestido de cuero que guarda la entrada de la caverna.

«When I came out of the fantasy, I realized that my mechanism had worked wonderfully well, but I was in great confusion as to the meaning of all those things I had seen.» — [Shamdasani, en nota al Liber Primus] cita del seminario de 1925 lo que Jung declaró tras la fantasía: el mecanismo había funcionado y el sentido lo dejaba confuso.

«The light in the cave from the crystal was, I thought, like the stone of wisdom. The secret murder of the hero I could not understand at all.» — [Shamdasani, en nota al Liber Primus] cita la lectura que Jung ensayó entonces: el cristal como piedra de sabiduría, y el asesinato secreto del héroe como lo que no lograba entender.

«The beetle of course I knew to be an ancient sun symbol, and the setting sun, the luminous red disk, was archetypal. The serpents I thought might have been connected with Egyptian material. I could not then realize that it was all so archetypal, I need not seek connections.» — [Shamdasani, en nota al Liber Primus] cita a Jung reconociendo que ya sabía del escarabajo como símbolo solar antiguo y que aún no veía lo arquetípico del conjunto.

«It was a case of destroying the hero ideal of my efficiency. This has to be sacrificed in order that a new adaptation can be made; in short, it is connected with the sacrifice of the superior function in order to get at the libido necessary to activate the inferior functions» — [Shamdasani, en nota al Liber Primus] cita la lectura tardía de Jung sobre el asesinato del héroe: sacrificio de la función superior para liberar la libido de las inferiores.

«Socrates distinguished four types of divine madness: (1) inspired divination, such as by the prophetess at Delphi; (2) instances in which individuals, when ancient sins have given rise to troubles, have prophesied and incited to prayer and worship; (3) possession by the Muses, since the technically skilled untouched by the madness of the Muses will never be a good poet; and (4) the lover.» — [Shamdasani, en nota al Liber Primus] recuerda los cuatro tipos de locura divina de Sócrates, que es el trasfondo de la sentencia de Jung sobre la locura.

«For Erasmus, Christianity was the highest type of inspired madness.» — [Shamdasani, en nota al Liber Primus] añade a Erasmo, para quien el cristianismo era la forma más alta de locura inspirada.

«Like Plato, Erasmus differentiated between two types of madness: “Thus as long as the soul uses its bodily organs aright, a man is called sane; but truly, when it bursts its chains and tries to be free, practising running away from its prison, then one calls it insanity.» — [Shamdasani, en nota al Liber Primus] cita la distinción de Erasmo entre el alma que usa bien sus órganos corporales y la que rompe sus cadenas.

«He adds that if insanity “happens through divine fervor, it may not be the same kind of insanity, but it is so like it that most people make no distinction.”» — [Shamdasani, en nota al Liber Primus] cita la acotación de Erasmo: la locura por fervor divino se parece tanto a la otra que casi nadie las distingue.

«The happiness that Christians sought was “nothing other than a certain kind of madness.”» — [Shamdasani, en nota al Liber Primus] cita a Erasmo llamando locura a la felicidad que buscan los cristianos.

«In 1815, the philosopher F.W.J. Schelling discussed divine madness in a manner that has a certain proximity to Jung’s discussion, noting that “The ancients did not speak in vain of a divine and holy madness.”» — [Shamdasani, en nota al Liber Primus] añade a Schelling en 1815 hablando de una locura divina y santa, en proximidad con lo que Jung sostiene.

«On the other, “there is one kind of person that governs madness and precisely in this overwhelming shows the highest force of the intellect. The other kind of person is governed by madness and is someone who is really mad”» — [Shamdasani, en nota al Liber Primus] cita el deslinde de Schelling entre quien gobierna la locura y quien es gobernado por ella.

«Jung read James’s Pragmatism in 1912, and it had a strong impact on his thinking. In his foreword to his Fordham University lectures, Jung stated that he had taken James’s pragmatic rule as his guiding principle» — [Shamdasani, en nota al Liber Primus] fecha en 1912 la lectura de James y consigna que Jung tomó su regla pragmática por principio rector.

«The spirit of the depths was so alien to me that it took me twentyfive nights to comprehend him.» — [Shamdasani, en nota al Liber Primus] cita del Draft el cómputo de Jung: veinticinco noches para comprender al espíritu de las profundidades. El troceo une el guion de corte y el verbatim sale *twentyfive* donde el volumen imprime *twenty-five*.

«But he had reduced the spirit of this time to a dwarf who was clever and bustling, yet was a dwarf. And the vision showed me the spirit of this time as made of leather, that is, pressed together, sere and lifeless. He could not prevent me from entering the dark underworld of the spirit of the depths.» — [Shamdasani, en nota al Liber Primus] cita del Draft la reducción del espíritu de este tiempo a un enano listo y afanoso que no pudo impedir el descenso.

«To my astonishment I realized that my feet sank into the black muddy water of the river of death.» — [Shamdasani, en nota al Liber Primus] cita del Draft el hundimiento de los pies en el agua fangosa del río de la muerte.

«My soul is my supreme meaning, my image of God, neither God himself nor the supreme meaning.» — [Shamdasani, en nota al Liber Primus] cita del Draft la ecuación entre el alma y el sentido supremo, con la salvedad de que no es ni Dios ni el sentido supremo mismos.

«Jung noted: “What I sacrifice is my egotistical claim, and by doing this I give up myself. Every sacrifice is therefore, to a greater or lesser degree, a self-sacrifice”» — [Shamdasani, en nota al Liber Primus] cita a Jung definiendo todo sacrificio como autosacrificio en algún grado.

«The sun motif appears in many places and times and the meaning is always the same—that a new consciousness has been born. It is the light of illumination which is projected into space. This is a psychological event; the medical term ‘hallucination’ makes no sense in psychology.» — [Shamdasani, en nota al Liber Primus] cita a Jung sobre el motivo solar como nacimiento de una conciencia nueva, y su rechazo del término médico *alucinación* en psicología.

«My friends, I know that I speak in riddles. But the spirit of the depths has granted me a view of many things in order to help my weak comprehension.» — [Shamdasani, en nota al Liber Primus] cita del Draft el reconocimiento de Jung de que habla en enigmas.

«When I was aspiring to my highest worldly power, the spirit of the depths sent me nameless thoughts and visions, that wiped out the heroic aspiration in me as our time understands it» — [Shamdasani, en nota al Liber Primus] cita del Draft el efecto de las visiones sobre la aspiración heroica de Jung.

«All heroes bring themselves down by carrying the heroic attitude beyond a certain limit, and hence lose their footing”» — [Shamdasani, en nota al Liber Primus] cita la regla que Jung enunciaba sobre los héroes: se derriban a sí mismos al llevar la actitud heroica más allá de cierto límite.

«Anyone who fights with monsters should take care that he does not in the process become a monster.» — [Shamdasani, en nota al Liber Primus] cita la sentencia de Nietzsche sobre quien combate monstruos, que es el trasfondo de la advertencia del texto.

«Siegfried was a heroic prince who appears in old German and Norse epics. In the twelfth-century Niebelunglied, he is described as follows: “And in what magnificent style Siegfried rode! He bore a great spear, stout of shaft and broad of head; his handsome sword reached down to his spurs; and the fine horn which this lord carried was of the reddest gold” (tr. A. Hatto [London: Penguin, 2004], p. 129). His wife, Brunhild, is tricked into revealing the only place where he could be wounded and killed. Wagner reworked these epics in The Ring of the Niebelung. In 1912, in Transformations and Symbols of the Libido, Jung presented a psychological interpretation of Siegfried as a symbol of the libido, principally citing Wagner’s libretto of Siegfried (CW B, §568f).» — [Shamdasani, en nota al Liber Primus] identifica a Sigfrido en las épicas germánicas y nórdicas, la refundición de Wagner y la lectura de Jung como símbolo de la libido.

«Siegfried was not an especially sympathetic figure to me, and I don’t know why my unconscious got engrossed in him. Wagner’s Siegfried, especially, is exaggeratedly extraverted and at times actually ridiculous. I never liked him. Nevertheless the dream showed him to be my hero.» — [Shamdasani, en nota al Liber Primus] cita a Jung declarando que Sigfrido no le era simpático y que el sueño se lo dio por héroe.

«I felt an enormous pity for him [Siegfried], as though I myself had been shot.» — [Shamdasani, en nota al Liber Primus] cita lo que Jung sintió al matar a Sigfrido en el sueño, como si le hubieran disparado a él.

«The rain that fell is a symbol of the release of tension; that is, the forces of the unconscious are loosed. When this happens, the feeling of relief is engendered.» — [Shamdasani, en nota al Liber Primus] cita la lectura de Jung sobre la lluvia del sueño como descarga de tensión.

«The world in-between is a world of the simplest things. It is not a world of intention and imperatives, but a perchance-world with indefinite possibilities.» — [Shamdasani, en nota al Liber Primus] cita del Draft la definición del mundo intermedio: mundo de lo más simple y del acaso, sin intención ni imperativos.

«Siegfried had to die, just like Wotan” (p. 76). In 1918, Jung wrote of the effects of the introduction of Christianity into Germany: “Christianity split the Germanic barbarian into his upper and lower halves and enabled him, by repressing the dark side, to domesticate the brighter half and fit it for culture. But the lower, darker half still awaits redemption and a second domestication. Until then, it will remain associated with vestiges of prehistory, with the collective unconscious, which must indicate a peculiar and increasing activation of the collective unconscious” (“On the unconscious,” CW 10, §17). He expanded on this situation in “Wotan” (1936, CW 10). 123.In the Draft, this sentence reads: “We want to continue living with a new God, a hero beyond Christ» — [Shamdasani, en nota al Liber Primus] cita del Draft la equiparación de Sigfrido con Wotan y el propósito de vivir con un dios nuevo, un héroe más allá de Cristo.

«If you do not understand the dream, you must shoot yourself!» — [Shamdasani, en nota al Liber Primus] cita la voz que en el sueño de Sigfrido le impone a Jung entender o dispararse.

«The conception of the absolute idea was developed by Hegel. He understood it as the culmination and the self-differentiating unity of the dialectical sequence that gives rise to the cosmos.» — [Shamdasani, en nota al Liber Primus] sitúa en Hegel la idea absoluta que el texto invoca.

«But the serpent is also life. In the image furnished by the ancients, the serpent put an end to the childlike magnificence of paradise; they even said that Christ himself had been a serpent” (p. 83).» — [Shamdasani, en nota al Liber Primus] cita del Draft la serpiente como vida, y la noticia de que los antiguos llegaron a decir que el propio Cristo había sido serpiente.

«The theme of Christ’s descent into Hell features in several apocryphal gospels.» — [Shamdasani, en nota al Liber Primus] localiza en los evangelios apócrifos el descenso de Cristo al infierno que el texto invoca.

«The theme of the integration of evil into the Godhead played an important role in Jung’s works; see Aion (1951, CW 9, 2, ch. 5), and Answer to Job (1952, CW 11).» — [Shamdasani, en nota al Liber Primus] enlaza la integración del mal en la divinidad con Aion y Answer to Job, obras de Jung muy posteriores.

«In 1952, Jung wrote to Zwi Werblowsky concerning the intentional ambiguity of his writings: “The language I speak must be equivocal, that is, ambiguous, to do justice to psychic nature with its double aspect. I strive consciously and deliberately for ambiguous expressions, because it is superior to unequivocalness and corresponds to the nature of being”» — [Shamdasani, en nota al Liber Primus] cita a Jung reivindicando en 1952 la ambigüedad deliberada de su lengua para hacer justicia a la doble faz de lo psíquico.

«The Draft continues: “Look at the images of the Gods that the ancients and the men of old left behind: their nature is ambiguous and equivocal”» — [Shamdasani, en nota al Liber Primus] cita del Draft el argumento por las imágenes de los dioses antiguos, cuya naturaleza es ambigua.

«In 1916, Jung wrote: “Man has one ability which, though it is of the greatest utility for collective purposes, is the most pernicious for individuation, and that is imitation. Collective psychology can hardly dispense with imitation”» — [Shamdasani, en nota al Liber Primus] cita a Jung en 1916 sobre la imitación: utilísima para lo colectivo y perniciosa para la individuación.